JULY 4-7, 2018 GDYNIA


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Theatres - 2017

THE RESERVATION FOR THEATRICAL SPCTACLES IS CLOSED. We remind you that in case that a person with reservation won’t show up, people without reservations will be invited to the spectacle according to their arrival order.


June 28, 2017

11.00 am – 3.00 pm – “ (A)pollonia”

12.00 noon – 1.30 pm – “White power, black memory”

2.30 pm – 3.30 pm – “Henrietta Lacks”

June 29, 2017

11.00 am – 3.00 pm – “ (A)pollonia”

12.00 noon – 1.00 pm – “Henrietta Lacks”

2.00 pm – 3.30 pm – “White power, black memory”

June 30, 2017

11.00 am – 3.00 pm – “ (A)pollonia”

12.00 noon – 1.30 pm – “White power, black memory”

2.30 pm – 3.30 pm – “Henrietta Lacks”

July 1, 2017

11.00 am – 3.00 pm – “(A)pollonia”

12.00 noon – 1.00 pm – “Henrietta Lacks”

2.00 pm – 3.30 pm – “White power, black memory”

Access to Open'er Festival 2017 theatrical performances is only possible with the festival  wristband/identification and a booking confirmation. T&C of booking can be found here.

The only entrance to the theatre tents is located from the Zielona Street. It is the entrance for pedestrians. 

There is no option to get to the theatre tents from the audience parking at Wiejska Street (Kosakowo).


(Theatre I)

Spectacle based on texts by Ajschylos, John Maxwell Coetzee, Eurypides, Hanna Krall, Jonathan Littell and others

Direction: Krzysztof Warlikowski

Adaptation:Krzysztof Warlikowski, Jacek Poniedziałek, Piotr Gruszczyński

Set design:Małgorzata Szczęśniak

Dramaturg:Piotr Gruszczyński

Music: Renate Jett, Paweł Mykietyn, Piotr Maślanka, Paweł Stankiewicz

Musicians:Paweł Bomert, Piotr Maślanka, Paweł Stankiewicz, Fabian Włodarek

Songs (lyrics): Renate Jett

Songs (singing):Magdalena Popławska

Lighting design:Felice Ross

Video: Paweł Łoziński, Kacper Lisowski, Rafał Listopad

Hair and wig stylist: Robert KUPISZ

Sculptures: Zofia REMISZEWSKA, Dominik DLOUHY

Cast: Magdalena Cielecka, Ewa Dałkowska, Renate Jett, Małgorzata Hajewska - Krzysztofik / Danuta Stenka, Maja Ostaszewska / Anna Radwan-Gancarczyk, Magdalena Popławska, Anna Radwan-Gancarczyk / Monika Niemczyk, Andrzej Chyra, Wojciech Kalarus, Marek Kalita, Zygmunt Malanowicz, Adam Nawojczyk / Bartosz Gelner, Jacek Poniedziałek, Maciej Stuhr, Tomasz Tyndyk / Piotr Polak 


Production: Nowy Teatr

Coproducers: La Comédie de Genève – Centre Dramatique, Festival d’Avignon, Narodowy Stary Teatr im. Heleny Modrzejewskiej w Krakowie, Théâtre de la Monnaie de Bruxelles, Théâtre National de Chaillot, Théâtre de la Place de Liège, Wiener Festwochen.


16 May 2009 in Warsaw

16 July 2009 in Awinion

Ifigenia, Alkestis, Apolonia – three sacrifices made of human life, victims of the fate, wars, voluntary and obligatory sacrifices. Sacrifices made in mythological times, when gods used to be involved in human lives and affairs in 20th century, when it was already too late for any divine interventions, and the victims’ fate has lost the literary tragedy nature and became a topic for a moving coverage.

Warlikowski studies various aspects of sacrifice, setting the enforced sacrifice of Iphigenia against Alcestis' voluntary offering up of her life to save her husband. But he raises doubts as to the "sanctity" of voluntary sacrifice. For all the grand theories of killing that executioners construct when trying to justify their actions, their talk about "following orders," their invoking of historical necessity, we still find it difficult to forgive them. The issue of guilt and forgiveness in Warlikowski's new production is complemented by an unexpected theme: that of vengeance. And that accounts for the presence of Clytemnestra and Orestes, as well as of Agamemnon, who speaks in phrases taken from Littell.

A great achievement of Krzysztof Warlikowski's adaptation is its blending of idioms taken from diverse linguistic and historical contexts, and the various discourses it employs. In order to avoid trite value judgements and statements, Warlikowski boldly juxtaposes the genocide of the Jews with the so-called holocaust of animals discussed with dispassionate rhetorical skill in one of the lectures by Coetzee's eponymous protagonist Elizabeth Costello. It is a provocative, even outrageous move, but one all the more worthy of reflection, for are not executioners' accounts of the murderous toil that killing requires outrageous?

White power, black memory

(Theatre II)

“White power, black memory” is a spectacle by Aleksander Węgierka Dramatic Theatre in Białystok. It is inspired by Marcin Kącki’s coverage “Białystok. White power, black memory”. Its premiere took place on April 16, 2016.

The spectacle was directed by Piotr Ratajczak, who is also responsible for music. Matylda Kotlińska is the creator of set design and costumes. Adaptation by Piotr Rowicki, and choreography by Arkadiusz Buszko. Author’s consultation by Marcin Kącki -The book is an open inspiration. I invited Piotr Rowicki to cooperation on the script, who created an autonomic theatre script, despite the fact, it includes threads that appeared in the book - as says Marcin Kącki.

Cast consists of actors from the Dramatic Theatre: Justyna Godlewska-Kruczkowska, Aleksandra Maj, Bernard Bania, Piotr Szekowski, Marek Tyszkiewicz, Franciszek Utko oraz gościnnie: Paweł Pabisiak.

Henrietta Lacks

(Theatre II)

Henrietta Lacks? I don’t know her. This will be the answer of most people. Anonymous heroine or the medicine victim? Black woman used to science researches or one of many, deadly sick patients, whose cells were used in scientific experiments, turned out to be the first ones in the history, capable of immortal effort?

All happened in 1951 in Baltimore. 31 year old Henrietta was diagnosed with cervical cancer, she died after a few months of ineffective treatment. She didn’t know her cells were taken and turned out to be capable of multiplying. HeLa didn’t get the chance to know what emotions her cells evoked in scientists. She left five kids, who didn’t get any support, while the disloyal doctors were made richer in symbolic and/or material capital. It’s a melodrama worth Hollywood cinematography. Although isn’t it better to look at Henrietta Lacks’ story from the joint perspective and think about the value of your own cells? Would the progress by possible if we had the right to compensation for the cells given away? Would the price list be created? How much would we pay for the healthy cells and how much for those with cancer? Which of them are more precious?

Henrietta’s story and HeLa cells touches many topics and gives no answers. It becomes a game with your conscience , experience and beliefs. And meanwhile our cells were taken away during routine examination and lead their own life. Do you miss them?

The spectacle was premieres during Festival Przemiany 2016, it underwent dramaturgic intervention and was moved to the Nowy Teatr in its new, Fuller form.  .

Script: Anna Smolar, Marta Malikowska, Maciej Pesta, Sonia Roszczuk, Jan Sobolewski
Director: Anna Smolar
Cooperation dramaturgic: Piotr Gruszczyński
Costumes: Anna Met
Music: Natalia Fiedorczuk-Cieślak
Lights: Rafał Paradowski
Choreography: Jan Sobolewski & ensemble

Hair stylist: Marek Nowak

Cast: Marta Malikowska, Sonia Roszczuk, Maciej Pesta, Jan Sobolewski

Coproduction: Nowy Teatr i Centrum Nauki Kopernik
Spectacles partner: Fundacja Onkocafe – Razem Lepiej


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