Ivona, Princess of Burgundia

Our lives are governed by conventions. This applies to the elite and the masses. It's about clothes and food, and just plain conversation. We all have exactly the same structure instilled. Boys don't wear skirts, we don't put our hands in a vase, we give answers when asked. But what happens if someone - like Iwona, the title character of Gombrowicz's play - does not follow these obvious rules? If he stubbornly refuses to answer ... Maybe he is simply disregarding the questioner? Or maybe he feels opposition to something? Only for what - towards the world? Or maybe the question is wrong? Regardless of the reason, Iwona's behavior turns King Ignacy's court upside down. In a world ruled by etiquette, the unknowability of one person can instantly bring to the surface thousands of sins, passions, and shamefully secret desires. This is what this performance is about ...

PERFORMANCE WITH POLISH SCRIPTURES.

From Review:

László Bocsárdi created a colorful, rich performance saturated with ambivalence of meanings, using various effects with provocative self-confidence. (...) He managed to break the closed framework of art, enriching its texture with interesting associations, which makes up an effective, thought-provoking performance. But Iwona refers to another world: she shows the theatrical language in the process of crystallization and the theater team that uses this language professionally and with commitment. Balázs Urbán, "Iwona and others", Színház, August 2008

In the course of successive outstanding scenes, sometimes reaching heights of mimetic and technical excellence, László Bocsárdi shows - by communicating with the audience through artistic language or through the indirect medium of television - this extraordinary state of supernatural: almost certainly by accident the functioning of the machinery of human society is disrupted by the antibody (...) " Tamás Tarján, "Elsinor in Charenton", Revizor, June 5, 2008