What does the intergenerational dialogue with Wyspianski, a séance of collective memory, tell us about ourselves and Poland today? How does Wyspianski's famous modernist drama open a space for discussion about the Polish communal here and now. Different generations meet on stage: the generation of grandparents and parents - whose biographies have been marked by a great history, the generation of Millenials - who are united by consumption and pop culture, and the generation of children - whose experience is just being formed.

We like to think of Poland as a project of a lost community, straight out of the dancing inn from "Pan Tadeusz," where people of different states, faiths, and wealth listen in unison to the playing of a Jewish dulcimer player. Meanwhile, Wyspianski unmasks this illusion, and the successive productions of "The Wedding," which accompanied Polish transformations and dramatic events over the years, are evidence of the failure and utopia of the desire to think of Poland in this way.

Is it our fate to wake up after successive weddings with the hangover of a history lesson not done?

Reviews:

Witold Mrozek, "Wedding. Corrections". Liber about Wyspianski doesn't say anything new. It doesn't have to. It's a repetition of a national ritual
wyborcza.pl, October 25, 2017

Piotr Dobrowolski, Morning Fears
teatralny.pl, November 17, 2017

Stanislaw Godlewski, In the chaos of wedding games - about the Polish Dance Theater's performance
taniecPOLSKA.pl, December 15, 2017