The Marriage

I see in the figure of Henryk the closeness of postmodern thinking in the assessment of today's reality, in the situation of a globalized man, rebelling in an individual way, against the unanimous assessment of this reality. Henryk decides to change this reality in order to be able to restore the lost world of his childhood. He wants to return to what no longer exists, but can reappear by the power of his imagination. Our imagination is our freedom, our only truth of existence.
Life as a ritual of words and gestures in which Henry himself is also a priest. The ritual of actions towards others. Experience of real existence.
This ritual, however, is in itself a game, an artificiality into which only the victim can breathe real life. A victim of a second life. Władzio must die. This real victim gives the game of life depth and tangibility of existence. It turns this game so far into a specific life experience. However, it is irreversible. There is no going back to the past. The concrete sacrifice of human life, instead of fulfillment, gives birth to emptiness and complete confusion for Henry.
In the name of this truth, I decided to reduce the characters of the drama to five characters: Henryk, Władzia, Mother, Father and Maria. There is no Drunkard. There is no outside interference. Henryk himself has to unravel his fate, the meaning of his existence.
The reality created by Henryk is his personal struggle with himself. Returning to the family home, which is no longer home. Return to youthful love, to boyfriends' friendship. It is all a figment of Henry's imagination. It is his game, rules and his failure. There is no external enemy. The enemy is in himself. Therefore, there is no place for a drunk here. Henryk himself has to face his life, the rules of the game, created by himself. He must taste the bitter experience of failure himself, he must face himself. For he is truly alone, doomed to a solitary and inevitable experience of existence.
Jaroslaw Bielski

"(...) Jarosław Bielski, an expert in Gombrowicz's theater, in his stage vision of The Wedding, penetrates into the very core of art, cleans it, finding its quintessence, rebuilding its logic and absolute theatrical coherence, thus emphasizing its modernity and incredible topicality of art. written by Gombrowicz in Spanish in Argentina, in 1948 ".
Irene Sadowska, Artezblai.com, February 29, 2016

"(...) I believe that" The Wedding "is a performance that can be described as the artistic event of the year. The production seduces, fascinates and at the same time leaves us in silence" ...
Nunci de Leon, periodistas-es.com, March 20, 2016

"Bearing in mind the ambiguity of this text, where Stupidity and Sublime interpenetrate constantly, Jarosław Bielski's staging is flawless (...), clear and fluid, from beginning to end, maintaining the rhythm of the performance. The rhythm emphasized by the pronunciation of words, closed in their power expressive and serious, and in restrained gestures, accompanying these words.
The work the director has done with the actors is considerable. (...) Raul Chacon in the role of Henryk perfectly plays a faithful reflection of the author of the play. Socorro Anadon (Mother) and Manuel Tiedra (Father) are no less perfect, both in the way they use their voice and in their characterization. Juan Erro (Władzio) and Eeva Karoliina (Mańka) are keeping pace with them.
David Ladra, Artezblai.co, March 15, 2016

The performance was realized as part of the Polish Theater Year in Spain, in cooperation with the Polish Cultural Institute in Madrid.

The performance as part of the 12th International Gombrowicz Festival, co-financed by SECRETARIA DE ESTADO DE CULTURA of the Ministry of Culture, Education and Sports of Spain and COOPERACIÓN ESPAÑOLA of the Spanish Embassy in Poland.