This is a simple story: a highly-placed (or not) woman or man is forced to resign from her/his position and power and to leave the city or the country in which she/he lived. Together with a son/daughter she/he flees to an island. The pair spends twelve years there. Chance (or a storm) causes people from the pair’s former milieu to arrive (or not) on the same island: those who had saved the lives (or not) of the pair and those who had caused (or not) their downfall.
Professor Tadeusz Sławek, in his book “NICowanie świata. Zdanie z Szekspira” [“Nihilation of the world. Sentences from Shakespeare”], writes that, in order to try to “think up a human”, he/she must be pulled out of the place normally assigned to him/her and placed somewhere entirely different. In this way, Shakespeare also asks questions: he renews the act of banishment: banishment from paradise, banishment from a city “The tempest”), banishment from life, banishment from family “King Lear”), banishment from country (“Coriolanus”). Without the situation of “being banished”, it is not possible to think up a human.
What does it mean today “to think up a human anew”, since the only instruments available for this are tools which humans in their imperfection created themselves, depending on knowledge and imagination, both of which draw on their source in the most imperfect of tools: human memory?
“2020: The tempest” is a tale of numerous variants – developed with the help of the constantly learning artificial intelligence. The AI programme specially designed for this production will gather information and opinions in real time from the production team and from the audience watching the streamed version., from answers to questions in short questionnaires before the performance. On the basis of this information, the system will take decisions about the arrangement of scene variants, the character of the music and the lighting.