Roots and Shoots* or, Tradition and Ecology
"Water 2030" is a performance put on at the end of the Easter caroling session, presented as an "Incident."
According to the local residents it is a kind of improvised meeting between the villagers. Water is the third ecological theme that we touched on during our 2010 "The Other Theatre School" season. During our Christmas caroling session in Beskid in January, we used the conventional tradition of the New Year's crib to satirize the global conference on climate change in Copenhagen. Our second theme, "the carnival of trees," was prepared in February, carnival time, and dealt with the struggle for the preservation of old trees in our neighborhoods that had been threatened with removal.
Staging: Wacław Sobaszek Performers: Zofia Bartoszewicz, Magda Drozdowicz, Karolina Placha, Erdmute Sobaszek, Wacław Sobaszek, Dawid Zelinka, Paulina Mju Zielińska, Emilia Hagelganz.
* The title is borrowed from the name of Jane Goodall's foundation - "Roots and Shoots"
"Water" is a modest but meaningful production put on by Teatr Węgajty. It is a futuristic vision of what water will be for us in just a few decades' time: a dark object of desire, life itself and above all, a commodity. It is a patchwork of different scenes, songs, sometimes comic, sometimes lyrical, following in succession like the images of a kaleidoscope. The plot sequence sometimes "fulfills" the audience's need for knowledge, but at other times it denies this knowledge, sometimes bringing delight or stupor. The play can be considered a creative work that makes use of all the typical theatrical elements. These include the use of masks, the actors' pure singing, the playing of musical instruments and use of actors' voices as musical instruments and the modest use of the theatrical space. But above all, "Water" delights us through its energy, its creation of a space for exchange and communication between actors and audience. The actors draw energy from the audience, engage in a dialogue, and invite them to share in collective play. Based on traditional folk songs and fragments from the Easter caroling, "Water" manages to go beyond its roots. Teatr Węgajty isn't out to reconstruct the past, but rather it engages in a creative process that allows us to be understood by all the people whom we encounter, young and old. "Water" shows the potential of the tradition of barter exchange. Węgajty's next projects will most likely involve further "experimentation" with the audience. However, this theatre does not treat its audiences like guinea pigs. From the audience we receive energy, emotion, experience and creative content, but we offer a lot in return. And if the audience is that important, so water is just as important everywhere that this show is performed.
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