Premiere: 20th of October 2014
it is a personal story, a performance that travels, a memory lab, a meeting. To reveal a hideout one needs to get into it, inside, and then we are close.
Together with us a tangle of yarn as well as: Irena Solska – a great Polish actress giving shelter to little Jewish girls Aniela Anyżko – a dark-haired clairvoyant, Apolonia – Zosia who, while she is putting her tongue to the frosted walls of the bakery to finally feel, at least for a moment, the taste of bread on that tongue which is already frost-bitten and swollen, doesn't know yet that many years later she will be showing a Hollywood director around the route of her escape from the ghetto.
And a small insurgent, or a dark blue policeman, or a poet, or elder. You start to pull a string and everything gets revealed: anti-monument, a small theatre, a view. And the stories of those, who came out of the closet.
Now it is possible, only for a moment more, so...
hide-out-coming-out Zosia, Małgosia! You are standing in the corner, it's swept under a carpet, a skeleton in a cupboard and the attic is haunted, the floor is creaking, you never go back by the same route – you don't know why. It's time to stop being of spiders, Ariadna.
Directed by: PAWEŁ PASSINI
Written by: PATRYCJA DOŁOWY
Video: MARIA PORZYC
Stage design: ZUZANNA SREBRNA
Costumes: EL BRUZDA
Light: MARIA PORZYC/DAMIAN BAKALARZ
Poster: MICHAŁ JADCZAK
Producer: ŁUKASZ WÓJTOWICZ
Cast:PATRYCJA DOŁOWY, JOANNA KACZMAREK, DANIEL MOŃSKI, BEATA PASSINI, PAWEŁ PASSINI, MARIA PORZYC, KATARZYNA TADEUSZ, JUDY TURAN
Performance produced by Centre for Culture in Lublin.
First Award on KLAMRA Festival in Toruń, Poland, 2015,
Grand Prix on Kontrapunkt Festival in Szczecin, 2015
Audience Award on Kontrapunkt Festival in Szczecin, 2015
Honorable Award for Patrycja Dołowy (for the piece exploring the difficult memory) on Kontrapunkt Festival in Szczecin, 2015,
Kot w worku award on Korczak Festival in Warsaw, 2015
Special Prize for Stage Design, Video and Lights on Korczak Festival in Warsaw, 2015
Special Prize for Actress (Judy Turan) on Korczak Festival in Warsaw, 2015
among The Best of 2014/15 in Theatre by Teatr Magazine, 2015
fot. Maciej Rukasz, Magdalena Wdowicz-Wierzbowska
“An indirectly woven story, creased, ragged, strange, vague, lyrical. The director takes out different characters from the closet, out of hiding. They come out from the corners, in spasms of fear or in a slow narration, they spin their story in a whisper or in a shout, the way the threads, in which they are entwined, are spun."
– Bartłomiej Miernik,
December, 12th, 2014
“Passini, together with Patrycja Dołowy and four young actresses, attempt to reconstruct what could have been happening in such hidings. How did the time pass there? What did they talk and think about? They spread their arms helplessly. Dołowy puts it bluntly: “Nothing happened.” In the accounts of the Survivors the accent is put only on going into hiding and, then, at coming out of it. There is a hole in between, a void, darkness, a terrible zero. As if the time has stopped. People don't talk, but whisper, even in their thoughts, later on even these thoughts cannot be heard. Only the lasting remains.”
– Łukasz Drewniak,
September 15th, 2014
"What is „The Hideout” about then? About a swamp of unhealed wounds, about imagining the unimaginable, about collecting of traces, remnants left from the past. And above all, about an attempt to understand the incomprehensible and restoring the lost memory."
Katarzyna Flader – Rzeszowska,
“The viewer gets components for self-assembly: there are accounts of those, who managed to get out of the closet, there are those who, despite being already on the surface, are still living their personal psychodrama. There is a screen with crossed out houses. Sound of the percussion spreads in circles in the smoky air.”
– Agnieszka Pisz,
October 23rd, 2014
"The title “hideout” has two meanings – it refers both to Jews hiding during the war, as well as to the post-war discovering of the hidden Jewishness by subsequent generations of the survivors. Their stories are the basis of the performance (…). Simple, unpretentious, direct, engaging. (…) Passini and Dołowy want to encourage to speak, break the spell of a taboo – to meet is a slightly celebratory, festive normality. The performance has no clear ending, the evening of stories is open. From one point the director repeats that you can leave any moment. The viewers are not leaving."
– Witold Mrozek,
December 7th, 2014
"It is a moving performance about staying in the closet, under the floor or in the attic sometimes for the entire life, about the conviction that being a Jew can still be a stigma in Poland. The performance swells – after each show viewers with new stories come to the makers."
– Aneta Kyzioł,
December 9th, 201
“Shutting the audience in the “trap's” space, the makers of the performance allowed us to feel the atmosphere of isolation. That half-existence, deadness while still alive. Such theatrical attempt gives us – if only temporarily – a connection with those whom this forced isolation forever bit in their psyche, leading to an inner “hiding” also after the war – regardless of the strength of anti-Semitic attitudes of the environment. Isolation from the world, even if it was the only possible salvation, made their psyche a dark storage of memory for ever. It has made people of incomplete identity out of them.”
– Magdalena Jankowska,
October 6th, 2014
"I am still sitting there. Squatting on the floor, but also under the floor, because the ceiling in this apartment has been lowered and linen with cardboard which cracks and peels off, and a bright light fall through the cracks. As if there was someone living up there and didn't have to hide.... (…) I am still sitting there because I cannot forget that hideout, phantasmagoric and quite real, filled with panic fear and a stubborn hope for salvation."
– Jacek Kopciński,
"Theatrical smoke trails through the rooms and the percussion set in the hall beats a monotonous rhythm. Sweat is rolling down the forehead, blood in the veins freezes and changes into liquid lead. (…) The performance cannot stop, the stories and anecdotes just keep coming, new ones come out, sometimes interrupted with a sudden sobbing. Hiding during the Holocaust is complimented with exclusion and transparency of the post-war Jewish fate. With the fear of revealing oneself, coming out of the closet."
– Maciej Nowak,
December 10th, 2014