Love on the monuments of history

Jacek Cieślak, RZECZPOSPOLITA

"Whatever happens I love you" - a story of love and vegetation in the hopeless reality of the 3rd Polish Republic, in fear of the 4th Republic - this is yet another scene under artistic management of Grzegorz Jarzyna. Jarzyna, who, in "Tropical Madness", portrayed his peers building the new Republic in a capitalist trance managed to attract novice artists through a series of workshops and shows and embarked on hot issues. They bore fruit in an auteur performance of 30-year-old Przemysław Wojcieszek, thanks to which young actors do not have to speak about contemporary times in the language of the classics. They act in the space of mystical and artsy shows of Jerzy Grotowski but the only multi-functional element resembling an altar is used for sexual clashes. It also serves as a table for a broken home where the son, frustrated with his military service in Iraq, brandishes a holy medallion of The Virgin Mary and conducts a war with Sugar, his homosexual sister (an excellent performance from Roma Gąsiorowska). A fried chicken stand competing with KFC is, however, the central place. Here the vicissitudes of young Poles intersect. The dishes are washed up by lesbian Magda (Agnieszka Podsiadlik), expelled from home by her father, an officer from a fallen military unit. Divorced actor school student (Rafał Maćkowiak) dreams of having sex with all girls. Track Suit Wearer (Eryk Lubos), who accidentally became the father of the fried chicken stand owner's daughter, tempts girls with a ride in his car.
Wojcieszek shows "Poland B", the Poland of rejected people who have nothing to grasp at. They do not work for more than two weeks in one place as it clashes with the tax interest of the boss. They fight for pay exceeding 4,5 Polish zloty per hour, and in the evening at a party they want to forget about everything. They would willingly leave their country.

The author filled the text with genre reality. The wrestler brags of his acquaintance with President Kwaśniewski, he wants to become a businessman. Joanna Brodzik embodies the peak of professional success, whereas the freebee film attached to a glossy magazine fulfills most sophisticated cultural aspirations. Wojcieszek told this in a text far from dramaturgic perfection, but he was keener on report including full-blooded personages and colourful language of the street. The young actors' elocution is worse than that of the stars, but their trump card is their authenticity in the eyes of the young public.
In this tacky reality there is still place for the poetry of kisses lit by sparklers; meetings when young Poles chant and scream out their poems to the psychedelic, live music of the Pustki band (the name denotes void, emptiness) feeling left alone with God. They miss their family and homeland, but they are even more scared as those two have always let them down.
Magda's monologue is moving. She speaks about difficult homosexual love, but at the same time expresses the longings of many of her peers, for whom the loved person is more important than the nation, sex than patriotic monuments and future than history.