Do You know All Of Them

Miranda, from “The Tempest”, represents boundless trust and faith that the world is good and always will be. The joy and faith that are so strong in Miranda are put to the test in Ophelia and cruelly shattered. Ophelia is reborn as Gertrude – a woman who is not so naive as to die but is sufficiently intelligent to adapt. Unfortunately, Gertrude pays a high price for adapting as she has to discard the truth about herself. Gertrude will never fulfil her potential because, in the world in which she lives, there is no place for it. Adapting perfectly means the acceptance of ubiquitous lies. The only exit from this trap is power, and its best form is absolute power, which Lady Macbeth desires – it is her shadow hiding in Gertrude’s subconscious. Finally, power turns out to be a deadly hallucination. The power which stupefies and destroys everything in its path is also a self-destructive force.

Another important motif is the attempt to explore the secrets of these figures. To this end, the artists exploit a method of working with dreams and the unconscious which they have been developing for 20 years. Thanks to this method, they often discover things which are completely not obvious. Things which appear clear reveal their hidden, ambiguous dimensions.

Project partners:
Kielce Cultural Centre
Theater w Blokowisku GAK Plama and Gdansk Archipelago of Culture

Creators

Script – Sławek Krawczyński, Anna Godowska
Choreography – Anna Godowska
Director – Sławek Krawczyński
Music – SUEXO
Costumes, space – Anna Godowska, Sławek Krawczyński

Cast

Anna Godowska

The production arose from an artistic residency at the Gdańsk Shakespeare Theatre within the framework of a grant from the European Festivals Fund for Emerging Artists – EFFEA.

This solo show, choreographed and performed by Anna Godowska and directed by Sławek Krawczyński, is a study of female figures from the plays “The Tempest”, “Hamlet” and “Macbeth” by William Shakespeare. Miranda_Ophelia_Gertrude_Lady Macbeth.

There exists an invisible thread linking these figures, which – contrary to the author’s intention – paradoxically appear to form a whole, as if they were one phantom figure broken up into several figures.