Ivona, Princess of Burgundia

And this is how we find ourselves at the royal court. Here a prince with his friends, here looking after the class and beauty of ladies. There is a king, a queen, and a chamberlain. And then suddenly, in the perfect world of lance and gloss, She ... Iwona appears backwards. He doesn't want anything, he doesn't strive for anything. It doesn't fit in here, it doesn't rhyme, it just - NO. Meanwhile, Prince Philip seems to be succumbing to this strange figure! There is no other way out - the court that cares about law and order will have to deal with this foreign body.

“Anna Augustynowicz reads Gombrowicz with her own insight, which magnetizes and terrifies at the same time. (...) The sensitivity with which Augustynowicz reads "Iwona ..." is perhaps the greatest asset of the performance. The director picks up subtle tones from Gombrowicz's drama and gives them expressive sound, places accents where the viewer does not expect them. The PWSFTviT diplomats are doing well with this discipline, which requires considerable discipline. It seems that the actors really trusted the director's intuition and play her theatrical score confidently and with understanding ".
Monika Wąsik, www.Teatralny.pl, 9/12/2015

"(...) This" Yvonne ... "is more perverse than it may seem. You can smell church incense here, single sounds mark the stages of the ritual, and Aunts Iwona, like all characters (except Iwona), are dressed in black clothes - their coarseness is somewhat of the strict Amish attire. The red spines of the pages of small prayer books stand out from the costumes. The remains of the religious ritual permeate the entire court world. Let us add, a world of equally secular power.
(...) When Iwona enters it, the hidden thoughts, desires and secrets are close to being denounced, and therefore made to reality. It is like a truth serum, which acts on successive officials of the "court". Solving the tongue against the floodlights surrounding the space is not convenient for anyone. This world is equally governed by the laws of a television reality show in which everyone pretends to be different than they are, but the audience senses and He tacitly accepts it. This is suggested by the ascetically thought-out space, the arrangement of the audience, in close contact with which young actors play, sometimes even speaking to her and saying some of the lines to her. "Yvonne ..." is also a performance that constantly deceives. There is less grotesque and nonsense here, more seriously. It is playing with the viewer (...). The shortcuts made in the text remove a few episodic characters and thicken the action. The text perfectly defends itself thanks to its suspension between the codified world of power and corporeality, which in their not disclosed here, but possible extremes, arouse extreme emotions: disgust and desire. (...) The young actors and the director managed to develop the "ability to develop a detached and sometimes absurd theme" adequate for Gombrowicz's writing technique, which is realized here or is created live".
Łukasz Kaczyński, "Dziennik Łódzki", 10/11/2015

"Austerity, playfulness, infantility are the poles on which" Ivona, Princess of Burgundy "was written in the realization of students of the acting department of the Film School in Lodz under the command of Anna Augustynowicz.
(...) "Iwona" captivates and hypnotizes to a large extent. (...) The economy and simplicity of the scenery and costumes seem to match well with Gombrowicz's texts, which are themselves so colorful and bubbling that they do not need additional explosions. on this ground, the verbal and formal juggling created by the great master can properly bloom and present itself at its fullest. Students try to use it with grace and charm. They are both statuesque and playful, encased in a twisted mixture of manners and frivolity. They are figurines, masks and poses filled with tasty and tickling dough."
Małgorzata Pawlak, www.plasterlodzki.pl, 10/11/2015