RESTLESSNESS
Feb-28
Complex playwright and involved in the social and psychological depths of contemporary man, Ivan Vîrîpaev proposes a very current story, in which we will find the echoes of breaking news, but also those of more distant historical events, which the passage of time has only succeeded in to sharpen them.
The young Polish journalist Krzysztof Zieliński manages to get an interview from the famous American writer Ula Richter, herself born in Poland. Famous not only for her literature, but also for her sharp, reserved and awkward character, Ula Richter rarely gives interviews, and this turns them into real events. At a time when her career is marked by controversy and in decline, a modicum of honesty could rehabilitate her in the eyes of readers and an increasingly polarized and nuance-refractory world, willing to annihilate before it investigates. Krzysztof Zieliński, although tense, has a premonition that the interview will be a special one, but the direction it will take will exceed his wildest expectations.
Skillfully oscillating between fantasy and reality until the two overlap, Vîrîpaev's play manages to hypnotize the audience the way Ula Richter manipulates the interviewer. Sudden changes in roles and plans call into question the veracity of what we commonly call truth and question the reality whose contours we often perceive to be clear, while they create illusions that they endlessly substitute.
The text is exciting and provocative, poetic and disconcerting, but beyond the unsettling character that the title evokes we find foreshadowed the hope that, at some point, everything will make sense and the contradictions will disappear like our lives themselves.
The young Polish journalist Krzysztof Zieliński manages to get an interview from the famous American writer Ula Richter, herself born in Poland. Famous not only for her literature, but also for her sharp, reserved and awkward character, Ula Richter rarely gives interviews, and this turns them into real events. At a time when her career is marked by controversy and in decline, a modicum of honesty could rehabilitate her in the eyes of readers and an increasingly polarized and nuance-refractory world, willing to annihilate before it investigates. Krzysztof Zieliński, although tense, has a premonition that the interview will be a special one, but the direction it will take will exceed his wildest expectations.
Skillfully oscillating between fantasy and reality until the two overlap, Vîrîpaev's play manages to hypnotize the audience the way Ula Richter manipulates the interviewer. Sudden changes in roles and plans call into question the veracity of what we commonly call truth and question the reality whose contours we often perceive to be clear, while they create illusions that they endlessly substitute.
The text is exciting and provocative, poetic and disconcerting, but beyond the unsettling character that the title evokes we find foreshadowed the hope that, at some point, everything will make sense and the contradictions will disappear like our lives themselves.
