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In its day, this text by nineteenth-century poet Włodzimierz Wolski worked perfectly as an artistic commentary on the causes and consequences of the Galician Slaughter. The libretto for Halka delves into the tension between the “defenders of Poland,” aka the landowning class, and the “traitor peasants,” who sided with the Austrian Empire to end their exploitation at the hands of the nobility once and for all. Between the nobility – who are not blameless – and the peasants – with a slowly birthing consciousness of their subservient position, stands Halka, whom Moniuszko and Wolski make beautiful, dumb, miscarrying a bastard child, and perishing by suicide, in confusion and despair.

The character of Halka accommodates the interpreter. Her status as silent allows us to project upon her what significance and metaphors we please. The conflict of the social classes, Halka as a motherland “stripped and plundered” by the partitioning forces – “besmirched” by the partitioning nobility, accused by the peasants of having given them nothing, unable to accept the feudal system that has ravaged her for centuries. If Halka could speak, the dynamic of this dramatic situation would have immediately changed. The authors of the play, director Anna Smolar and dramaturg Natalia Fiedorczuk, are grappling not only with the reformulation of the content, with giving Halina her own voice, but also with developing a new form of this classic, so that the theatre should take on the challenge of telling Halka’s story all over again.

script: Natalia Fiedorczuk, Anna Smolar, in collaboration with the ensemble
set and costume design: Anna Met
choreography: Paweł Sakowicz
music: Enchanted Hunters (Magdalena Gajdzica, Małgorzata Penkalla)
lighting director, video: Liubov Gorobiuk
director's assistant: Ewa Galica, Kalina Dębska
assistant scenographer: Stefania Jabłońska
stage manager, prompter: Zbigniew S. Kaleta

Performances tagged English-friendly feature English surtitles.

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