Roar, China!
premiere
6 November 2015
running time
95 min. (bez przerwy)
stage
scena duża
UPCOMING SHOWS
not in repertoire

PHOTO GALLERY

VIDEO

CAST
KAROLINA ADAMCZYK
KAROLINA ADAMCZYK
Boy - służący na kanonierce i służący wszędzie
ELIZA BOROWSKA
ELIZA BOROWSKA
Pani de Bruchelle
MAGDALENA KOLEŚNIK
MAGDALENA KOLEŚNIK
Kordelia de Bruchelle
GRZEGORZ ARTMAN
GRZEGORZ ARTMAN
Porucznik Copper
JACEK BELER
JACEK BELER
Student, Palacz
ARKADIUSZ BRYKALSKI
ARKADIUSZ BRYKALSKI
Pan de Bruchelle
MICHAŁ CZACHOR
MICHAŁ CZACHOR
Przewoźnik II
MICHAŁ JARMICKI
MICHAŁ JARMICKI
Daoin, Fej, Ama, Taj-li
MATEUSZ ŁASOWSKI
MATEUSZ ŁASOWSKI
Przewoźnik I
GRZEGORZ OTRĘBSKI
GRZEGORZ OTRĘBSKI
Mister Holey
MICHAŁ SITARSKI
MICHAŁ SITARSKI
Kapitan
MICHAŁ TOKAJ
MICHAŁ TOKAJ
Porucznik Copper

CREATIVES

director - Paweł Łysak
dramaturg - Sebastian Majewski

set designer - Barbara Hanicka

lighting director - Damian Pawella

choreography consultations - Kaya Kołodziejczyk
music - actors' team under the leadership of Jacek Beler and Krzysztof Nowicki

consultations about subject matter - Sławomir Sierakowski
director's assistant - Filip Gieldon
set designer's assistant - Iwona Bandzarewicz 

stage manager - Barbara Sadowska

SYNOPSIS

A performance full of energy, live music played by actors, effective staging. Roar, China! is ”fascinating until the very last minute!” (Newsweek)

 

A colonizer dies in a Chinese port in suspicious circumstances. In revenge, the captain of an English ship orders to execute two innocent Chinese. Will the rebellion of residents against a handful of privileged policy-makers from Europe turn out to be the beginning of fight for freedom and dignity of men? Will the women, with sexuality as their only weapon and taint, be able to stop their husbands and lovers before the conflict escalates? Or will they trigger their primal instincts of revenge and domination over the weaker?

 

The creators of Roar, China! once again discuss revolution and social disparities in the modern world. The play manifests the struggle to gain the right to the independence of a unit that faces a brutal discrimination. The political clarity is collated with a primitive strength and great emotions, and all this is emphasized by marvelous acting.

 

The National Centre for Culture is the play’s official partner.

 


www.kulturadostepna.pl/teatr/warszawa

REVIEWS
  • The stagecraft itself here is wonderful (...). That its concerns with imperialism and racism seem entirely modern is on one level deeply depressing, but the fact of its beings staged, and its success and popularity are at least a small reason for hope.   (Andrew Haydon, postcardsgods.blogspot.com, 11.11.2015)  
  • “Alarming”, “thrilling”, “mysterious”, and “dangerous” – that’s the easiest way to describe the play (...).  Roar China! is a must-see, particularly because of Karolina Adamczyk! What a great role! (...) I was truly moved after the play; this time, “Powszechny” in deed “meddled in”. Paweł Łysak wanted Tretiakow’s work to be presented as a collage of music and picture, combining some elements of improvisations, farce, and drama. This combination was as risky as it was successful. Roar China!, referring to racist and class differences, abstains from political discussions. The play has a universal overtone and pertains to human faults and an unfair right of the stronger ones. The disparity demolished by the authors who involve the audience in the play (you should really experience this yourselves) is thought-provoking  and makes the audience uncomfortable.   (Włodzimierz „Sakis” Neubart, chochlikkulturalny.blogspot.com, 25.02.2016)  
  • The play begins like a rock opera. The blaze of lights, the fierce rhythm of the drums, sounds of the orchestra full of dissonance. Among unfinished dialogues, the patrons impose on us their practices, making the indigenous peoples helpless: human trafficking, the reduction of starvation wages for arduous labour. All this is merely in the background of the story. (...) Slowly, we can discern the message of the play emerging from the background. When the world with political disparity trembles, and we all feel threatened by terrorism due to wars caused by white men in Iraq, Syria, and Afghanistan, a historic glance at the sources of the conflicts seems to be legitimate. The cruelty of the masters in their impeccable suits gives rise to scream on both sides of the conflict.   (Hanna Karolak, Gość Niedzielny, 29.11.2015)  
  • What Łysak saw in this story was primarily the conflict between a weak and helpless man (regardless of his nationality) and strong and aggressive individuals which want to satisfy their needs and whims, no matter the costs. (...) The main questions asked by us after the play are: Who are we? What are our motivations? What do we pursue? Those questions are not new, but they acquire a great significant. Will we wake up from the dream or will we continue to believe that the blame lies with others?   (Andriej Moskwin, teatrdlawas.pl, 09.11.2015)  
  • In modern Poland which experiences a post-critical disappointment in capitalism, another staging of Roar China! is legitimate because - from a moral and ethical point of view - it allows us to look at the foundations of the world we live in, and perhaps to think them over once again or even challenge them (...). A viewer entangled in class conflict that is presented in Tretiakow’s work is one of the most important messages of Łysak’s interpretations. We make a choice. We are sitting in a salon in Warsaw or talking with the elite near the front door. We are drinking a glass of champagne in a toast or hold out a hand to the worker to help him in his harsh, manual labour.   (Jakub M. Urbański, kulturaliberalna.pl)
MEDIA PARTNERS
Teatr Powszechny
im. Zygmunta Hübnera
ul. Jana Zamoyskiego 20
03-801 Warszawa
tickets 22 818 25 16
22 818 48 19
PATRONI MEDIALNI

PARTNERZY