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This paper looks for connotations within – and creates ‘theatre texts’ from – the conditions and circumstances that surround both Warlikowski’s creative process and the ‘post-premiere’ production histories of his performances.
What, then, constitutes the web of interdependencies that serve as ‘theatre texts’ in this analysis?
Largely, they fall into the following groups: 1) elements of Warlikowski’s professional and private biography; 2) the background and infrastructure of Polish repertory theatre (the circumstances around Warlikowski’s debut, the actors’ professional connections and employment at various theatres, and so on); 3) the ‘familial’ environment within which the ensemble operates; 4) the individual artists’ biographies and their impact on the relationships within the ensemble; 5) the shared creative process of rehearsals.
, he had been working actively in theatre for two years, having secured a professional debut at one of the country’s most prestigious repertory theatres, the Stary Teatr (Old Theatre) in Kraków – a noteworthy step for a young graduate director in Poland.
Justyna Drobnik-Rogers studied Theatre and Drama at the Adam Mickiewicz University in Poznań and at Dartington College of Arts, UK.
She has worked in theatres both in Poland and in the United Kingdom.
follows the story of the eponymous serial killer, who is driven by unknown forces to commit apparently motiveless crimes.Both shared the belief that only detaching yourself from the society of your birth can help you to discover your ‘true’ identity.