Ivona, Princess of Burgundia

Attila Keresztes, a Romanian director working in Hungary, uncompromisingly entered the artistic team of the Silesian Theater and, like an experienced conductor, led the actors according to his own discretion, pace and vision. Keresztes begins his "Iwona ..." perversely - from the finale. From the first scene, the courtiers are dressed in mourning black, and the carefree phrase "wonderful sunset" that opens the play is uttered with fear (it is impossible to ignore the bloody glow on the horizon). There is no hope in Keresztes' world. Like Truman Capote, the director reconstructs the crime in cold blood. It shows that the decision to murder was born long before Iwona (Agnieszka Radzikowska from Teatr Nowy in Zabrze) appeared at the court. He does not ask if a person can be evil, but tracks how evil sprouts within him. Usually, the staging of Gombrowicz's play is an attempt to answer the question of who the silent Iwona is. Meanwhile, in the Katowice spectacle, Iwona is a transparent heroine, and the whole plot focuses on men. Keresztes created a play about male immaturity and an unsuccessful rebellion. (...) Keresztes (...) intrigued, provoked remarkable roles in the actors, turned Gombrowicz's grotesque into horror (...).

Aleksandra Czapla-Oslislo Gazeta Wyborcza Katowice No. 51 March 2, 2010

The strength of the premiere at Teatr Śląski is form. Disturbing and not always legible in its signs, but expressive, irritating the senses and habits of viewers. It is a form based on a game of contrasts in every element of theatrical action. From the stylistic juxtaposition between cold scenery and fancy costumes designed by Bianka Imelda Jeremias, and ending with the actors' game based on the opposition of grotesque and realism. The pulsating rhythm of the performance prevents the audience's attention from getting out of control of the producers. The director Attila Keresztes follows Gombrowicz when he introduces Iwona - a symbol of normality into the panopticum of the court. A petite girl in a white dress looks scared at best. At this moment, however, begins her path towards the destruction and degradation of her personality. Because the court has already appointed her as an opponent. Because the court is bored ...

Henryka Wach-Malicka Polska Dziennik Zachodni no. 52 03/03/2010

Sophisticated form and acting - these are the advantages of the surprising production of "Ivona, princess of Burgundia" in Katowice. The director added the role of a witch to the gallery of Gombrowicz's drama figures - an image of evil. Joanna Wawrzyńska, who plays it, initiates each act by speaking in an incomprehensible language. He curses the world until it blows with terror. With this operation, "Ivona" is part of the tradition of Shakespeare's reflections on passions, the strongest of which seems to be power. In Keresztes' interpretation, "Ivona" was dominated by completely corrupt, but also immature men to perform a leadership role. This is what King Ignacy in the creation of Grzegorz Przybył is like, this is what his son's surroundings are like, and this is how - although he tries to oppose it - Prince Filip by Michał Rolnicki becomes. Ignatius has the legitimacy to rule, but shows a complete lack of competence. The demiurge of palace events is therefore the perverse and intelligent Chamberlain of Jerzy Głybin. In a woman's corset, with an earring in her ear and a feather boa around her neck, she pulls the palace strings. (...) The staging of Keresztes and Jeremias is based on contrasts. The cold and austere set design contrasts with the baroque robes of the court, passive and silent Yvonne - with the mansion and perversions who like perversion, the faces of the royal family and courtiers whitened as in clowns - with the natural complexion of Iwona, the artificiality and insincerity of the behavior of her environment - with a manifesto of the independence of a woman who wants to be treated as a partner. White and black dominate, which only in the first and last scenes are flooded with the red glow of the setting sun and bloodless crime. »

Danuta Lubina-Cipińska Rzeczpospolita no 58 March 10, 2010