Pupa

"A good, tame bum is the basis, so the bum is where the action begins. From the bottom, as from the main trunk, there are branches of individual parts, like a toe, hands, eyes, teeth, ears, with some parts slightly changing into others thanks to subtle and elaborate transformations. 

Stanisław Syrewicz, the author of the music for Pupa, recalls that he once talked about Gombrowicz with the director Maciej Wojtyszka - their conversation inspired him to transform the threads from Ferdydurke in a ballet manner. Syrewicz is a film music composer and songwriter, he has worked with Andrzej Żuławski, Marianne Faithfull, Edyta Górniak (the song To nie ja), among others. He worked on Ferdydurke already in 1991, when he composed the music for Jerzy Skolimowski's film 30 Door Key.

The author of the choreography is Anna Hop - a young, extremely talented, hard-working, versatile dancer and choreographer. "I would rather call my performances a dance theater, expressive dance, it is a form on the borderline" - says the artist. each of us, a story about "a man in the theater of everyday life".

The artistic arrangement of the stage was proposed by Małgorzata Szabłowska, supported by Katarzyna Rott's own projections and costumes. They all made an ambitious attempt to translate the elements of the writer's symbolism into musical and visual language. "As with Gombrowicz there is no room for lyrical tinges," Syrewicz reminds us, and his drama is mixed with the grotesque, so in my compositions streaked with irony there is no room for sublime, sublime or sentiment ".

The symbolism of Ferdydurke is an excellent material for a ballet adaptation, incl. because Gombrowicz uses the language of the body almost exclusively. Terms such as "pupa", "mouth", "calf" or "dismemberment" are used to describe social and psychological phenomena which, despite the passage of 75 years, are adequately adhered to contemporary reality.