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Quixotage - The KTO Theatre



Our conviction that an outdoor performance is well-suited to express Cervantes's ideas has encouraged us to ask this fundamental question once again: "To have or to be?". The division of the world and the human nature into Don Quixotes and Sancho Panzas, although conventional in character, allows us to present the clash of a minute man with monstrous windmills. The result seems to be predictable. But it is the choice of predecessors and the continuation of their actions that constitute the shape and the sense of our path, although its end remains unchanged and inevitable in each individual being.

The show has been presented in many cities in Poland as well as in Croatia, Spain, Iran, Colombia, Germany, Russia, Ukraine, Belgium, Hungary.



And so at summit of a glass tower a slender man in breeches too short dreamt the world, dreamt life, dreamt the beginning and the end (...)
From behind the black curtain at the back of the "stage" ever more apparitions appear, circling the glass tower. Zon's spectacle's rhythm is the rhythm of a dance of tempting images from a dream. And what magnificent images they are. Sublime costumes by Zofia de Ines; ascetic machines by the set designer Marek Braun; needles of light surgically piercing the darkness over the Square, produced by Pewel Rozanski; and finally the music, constantly changing intonations, but also the pulse of the recurring refrain or mantra in the disturbing dark leitmotif tune from the film "Dolls" by Hisaishi. Delicious are these nightmares, so delicious and enticing in the pure space around them that one can understand the wavering of the thin knight. By what, by whom should we allow ourselves to be irrevocably seduced? (…)
The thing is that the thin man of La Mancha was advised, thank God, by no-one. That knightly woe on his grotesque horse and with a charming cretin in tow was the same from start to finish: the loneliness of reverie, the loneliness of dreams, the loneliness of delusions, the loneliness of being stranded between consciousness and darkness. And this is Zon's "Quixotage". Like all his tales, it is a chain of theatrical metaphors which never harass you with suggestions on how or what to think of them. You always remain alone. Face to face with the sign. And face to face with the finale.

Paweł Głowacki "Dziennik Polski"

He was a contemporary Don Quixote – enclosed in his own world, helpless and childlike. Shut in a glass cage on top of a high moving platform, exiting it to look at the world in wonder. Here, Sancho Panza is an average guy in a grey suit who, while perhaps not understanding his friend, will not desert him. Around Don Quixote, the world spins on moving platforms – eight or nine Dulcineas – cooks beating thythms on pots and sieves, temptresses in Spanish frills, deformed monsters representing politics and ideology...
Joanna Targoń, "Gazeta Wyborcza"

The story of Don Quixote, like bizarre images in a drug-fuelled trance, runs scene by scene, without a break. Its characters smoothly appear and disappear from the world of dreams (…). Vapours of fog and saxophone music by Jan Garbarek accompany the knight until his death. The KTO Theatre uses but a few motifs from the novel and sets them in order anew (...)
"Münstersche Zeitung"

In KTO Theatre’s internpretation Don Quixote was not a melancholic knight that one can mock but an alienated person of subtle character (…)
Dynamic sequences, not infrequently battle scenes, were interwoven with peaceful pictures in which gentle and delicate Don Quixote and Sancho Pansa, strong as a bear, gave themselves to everyday matters. The world confronted by Don Quixote, which has the best of its existence in the world of books, is loud and rough. (…)
The burning of books means the death of Don Quixote, who is tired of life anyway. What makes a great impression is the final scene in which we can see attractively illuminated windmills of various shapes and sizes. Are they graves of those who have left the merciless world or signs of hope that Don Quixotes will never die out?

"Dülmener Zeitung"



Premiere: July 2007

Script, direction and selection of music: Jerzy Zon
Stage set: Marek Braun
Costumes: Zofia de Ines, Joanna Jasko-Sroka
Choreography: Eryk Makohon
Rhythmical training of the cast: Bartlomiej Szczepanski

Performers: Katarzyna Gocał, Anna Kamykowska, Agata Słowicka, Grażyna Srebrny-Rosa, Małgorzata Warsicka, Barbara Wysoczańska, Katarzyna Maria Zawadzka, Marta Zoń, Bartosz Cieniawa, Jacek Joniec, Paweł Łyskawa, Eryk Makohon, Alan Pakosz, Szymon Pater, Adam Plewiński, Tomasz Urbański


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