musical supervision: Maciej Tomasiewicz
direction and choregraphy: Robert Bondara
sets and costumes: Martyna Kander
lights: Maciej Igielski
video projections: Ewa Krasucka
ballet manager: Grzegorz Pajdzik
assistant choreographer: Aleksandra Piotrowska-Zaręba
asystentka to the scenery: Dagmara Walkowicz-Goleśny
music cooperation: Grzegorz Brajner
pedagote ballet: Lucyna Popławska, Kazimierz Cieśla
project coordination: Marta Kuźmiak
CAST OF SZEHEREZADA
ZOBEIDA – Michalina DROZDOWSKA, Wioleta HASZCZYC, Ai OKUNO
SZAHRIJAR – Karol PLUSZCZEWICZ, Grzegorz PAJDZIK
SERVANTS – Sebastian SIMIC, Artur DMOCHOWSKI, Karol PLUSZCZEWICZ
CAST OF MEDEA
MEDEA – Michalina DROZDOWSKA, Monika LATUSEK, Ai OKUNO
JAZON – Sebastian SIMIC, Karol PLUSZCZEWICZ
KREON – Danill ALEXANDROV, Artur DMOCHOWSKI
KREUZA – Wioleta HASZCZYC, Michalina DROZDOWSKA, Monika LATUSEK
AJGEUS – Artur DMOCHOWSKI, Sebastian SIMIC, Krzysztof SZCZYGIEŁ
MERMEROS – Igor PRZYBYŁA
FERES – Tymoteusz WINIARSKI
Dwie jednoaktówki baletowe
Duration:Scheherazade
The latest Silesian Opera production of a classical story of jealousy and search for closeness does not have anything oriental or fairy-tale like that we know from the 1910 staging of Scheherazade by Michail Fokin. The whole balance of the story is shifted to the relationship between the protagonists and their complex psychology. The plot takes place in rather undefined contemporary times, in a house of a rich couple, in cold modern interiors. The inhabitants of the house are unaware of the fact that they are being watched by the hidden cameras installed by mistrustful Shahrijar who watches closely every step of his wife and servants, thus feeding his complexes and obsessions. His sick jealousy aggravates the conflict and destroys the bond between the once close people, spinning the events which lead to a tragic finale.
Medea
The production of the famous Euripides play takes place in high levels of society, in the world of power and politics. Medea lives in a world dominated by men. On one hand she is ignored and humiliated, and on the other, she is mercenary and ruthless. Once utterly humiliated, she is possessed by a blinding desire for a bloody revenge, which is stronger that her maternal instinct and a natural impulse of protecting her offspring. Does the injustice and the harm that she has been faced with justify the murder of her children? This is the question asked by Robert Bondara in his latest production. Similarly as in the film by Lars von Trier, the hurt Medea deliberately plans in cold blood the most painful revenge for Jason, for the crime he committed by marring the daughter of King Creon.
