Artist Talks Brandhaarden: Ewelina Marciniak
A look behind the scenes and conversations with the makers make the performance visit even more interesting. That is why ITA Academy organises a series of Artist Talks during Brandhaardens: in-depth discussions with inspiring makers about their work and working methods, motives, sources of inspiration and fascinations. Artist Talks take place after a performance by the artist in question and offer a deeper look at the work in a broader context.
Duration 45 minutes, after the performance
Sign up for free entrance
‘Do we still have to listen to the misogynistic nonsense of two, three, four hundred years ago?’
Since her 2008 debut, director Ewelina Marciniak (1984) has gradually become one of Poland’s most important theatre makers. She combines an interest in new narrative forms with research into female perspectives on theatre texts, ‘Should we still be listening to the misogynistic claptrap of two, three, and four hundred years ago?’
She has fearlessly presented the work of Elfriede Jelinek, among other things, in increasingly conservative Poland. Since 2018, she has also worked frequently in Germany. In 2020, she was awarded the Der Faust theatre prize for her stage adaptation of The Boxer. Die Jungfrau von Orleans was invited to the 2022 Theatertreffen as one of the best performances of the season.
In 2022 in Bern, she directed her first opera, Wagner’s Das Rheingold, for which Opernwelt nominated her as Young Artist of the Year. Die Walküre, the second part of Der Ring des Nibelungen was premiered recently.-|-What she has to say about Die Walküre applies to all her work, ‘In Die Walküre, I want to show the consequences of Wotan’s decision on his children. I am looking for an answer to the question of what emotions, hopes, dreams, but also traumas incite the heroes and heroines of this drama to action. Psychology is the key to reading mythological works. It is fascinating how often the next generation is held hostage in a game of influence and power.’
In Die Jungfrau von Orleans she went looking for the woman behind the myth. In her staging, Joan of Arc becomes the star of her own story, reflecting on a meta level on her role as a literary and historical character, as well as an actress. She thinks it is time to abandon the victim role devised and imposed by men. Is Jeanne d’Arc all about religious fanaticism, ruthless slaughter and sacred virginity? Definitely not!