DEATH INTERTWINED WITH LOVE

One of Ewa Wycichowska's most interesting choreographic concepts in recent years

The story is based on the life of Heinrich von Kleist, a German poet, however in the performance the drama of the artist acquired a truly universal dimension. Janusz Stolarski (as "Mr of K.") did not go off stage throughout the whole play, while his nearest and dearest - women, friends - came and went. Although spectators realised that what they watched was Kleist's life story, the abbreviation of the name to the simple "Mr of K." evoked clear associations with Kafka's protagonist. Mr of K., sucked into the merciless wheels of the machine of life, is unable to set himself free using means other than death.
Kleist in fact did commit suicide, together with Henrietta Vogel, his girlfriend. Ewa Wycichowska showed the event metaphorically in the final scene, with a giant triangle slowly sliding down on the main characters, closing the space around them and thus shutting them off from the outside world. This was one of the most superb highlights of the performance. Another highlight were the duets. A particularly moving moment came with Mr of K.'s dance with Luiza (played by the remarkable Anna Kołek). [...]
However, as words became silent, music grew strong, carrying viewers into the realm of the untold. Apart from quotes from Schubert's string quintet, the whole performance floated across subtle electronic music by Lidia Zielińska which added mystery to the play and evoked a somewhat disquieting mood. Superb costumes designed by Zofia de Ines and exquisite stage design created by Bohdan Cieślak lent the finishing touch.
Mr of K. shut himself off from the world, wishing to cross the boundary of knowledge, impatiently seeking the truth. - Knowledge has to pass through infinity - Mr of K. said to one of the women of his life - If only you knew how death is intertwined with love.
The performance was created in co-production with Kleist Forum from Frankfurt (Oder), where the play will have its first showing in October.

Tomasz Praszczałek, Rzeczpospolita, 7-8.05.2005.