Opole takes pride in that this is where Jerzy Grotowski had worked before he became a master. This is where in 1959–1964 he laid the foundations of his theatre – the laboratory. Even though the circumstances were far from easy, he found here place, time and basic conditions to carry out his long-term work. Today, the protection of young artists who embark on explorations is still very much needed, probably even more than when Grotowski said his words.
When I arrived in Opole in 2015, I saw the theatre building with the technical facilities of extraordinary nature, which every beginning director could dream of. My dream, however, was to create, and consistently develop, a place which would serve to make Jerzy Grotowski’s ideas come true, and to ensure foundations for experimental explorations in the area of theatre.
"WE WANT THE MODELATORNIA TO BE, AS INTENDED, AN ASYLUM FOR CREATORS WHO LOOK FOR NEW LANGUAGES, FORMS AND METHODS OF ESTABLISHING
A DIALOGUE WITH THE AUDIENCE.”
In less than one year, thanks to the support and involvement of many people, the MODELATORNIA was set, being the fourth stage of the Jan Kochanowski Theatre (TJK), designed for long-term and innovative projects. This is a place created for the audience and artists who are open to dialogue and criticism, and willing to expand their horizons. The agenda provides for the implementation of projects that are bold, unobvious, combining various fields of art, aesthetics, views, and following one of the most important mottos we use in the TJK Theatre: it is intended to be ‘a theatre of many voices and various perspectives’.
In order to ensure that creators have access to it, I initiated a regular call for proposals for projects to be financed and supported artistically, but also in terms of technical aspects, administration and media publicity.
We attempt to create a safe harbour, free from the system, production rush and fear of making mistakes, so indispensable in artistic development, as these elements destroy creativity.
I wish to invite those artists who are willing to use our stage to raise fundamental idea-related issues and confront them with the audience, proposing an original staging approach, and to initiate a creative dialogue, to cooperate with us.