Krzysztof Warlikowski / Nowy Teatr

An emblematic figure of the post-communist Polish theatre, Krzysztof Warlikowski wrote one of his first shows after finishing his philosophy and history studies in Krakow, then in Paris. Invited to the Piccolo Teatro of Milan, directed at the time by Giorgio Strehler, he proposed an adaptation of Proust's Remembrance of Things Past, before becoming interested in Dostoyevsky and Elias Canetti. Observing the Poles of his generation's relative loss of interest in the theatre, he launched himself into an approach that he would keep to more than ever: creating a theatre for his contemporaries, a theatre that questions, that disturbs, that takes hold of non-consensual societal themes. Working on the creations of Kafka, Shakespeare, Koltès, Gombrowicz, Sarah Kane, Hanoch Levin or Tony Kushner, he tackles supposedly taboo subjects that concern the intimate, sexuality, anti-Semitism, while inventing new forms of performance likely to re-establish the link between the public and the dramatic work. Going beyond the borders of his native Poland, he presents his shows in the four corners of a Europe, it too destabilized, turned upside-down, in which his questions find an immediate echo. From 2009, without abandoning the major playwrights who accompanied him at his beginnings, he started to work on shows made up of literary fragments taken from authors as different as Hannah Krall, Jonathan Littell or J.M. Coetzee and whom he associates with Euripides or Aeschylus. Presented in 2009 at the Festival d'Avignon, (A)pollonia was the first show created following that juxtaposition principle that will preside, this year, at the premiere of Warsaw Cabaret. The Festival previously welcomed several of Krzysztof Warlikowski's shows: Hamlet en 2001, Purified in 2002, Kroum in 2005 and Angels in America in 2007.JFP, April 2013