Krystian Lupa

Krystian Lupa is a Director Polish, born in 1943 with Jastrzębie Zdrój (Silesia).

After a diploma for the occupation of engraver to the Academy of the Art schools of Cracow, it stops studies of Cinéma to be formed during four years with the setting in scene with the lnstitut of Dramatic art of Cracow then begins its career with the theater Norwid de Jelenia Gora, in the Western Sudètes. This period of its work, which lasts until in 1986, presents a very marked experimental character. After two personal spectacles, it assembles especially Polish contemporary authors such as Gombrowicz or Witkiewicz, a representative of the metaphysical Theater of the absurd.

In a text of this time, heading the theater of the revelation , Lupa exposes its design of the theater like instrument of exploration and transgression of the borders of individuality. In 1985, it presents a first synthesis of its research to the Stary Teatr: City of dream, according to a novel of Alfred Kubin. One year later, it is named in Stary Teatr, where its arrival coincides with a turning of its research. Lupa is interested more in ethical dimension in art, and the majority of its settings in scene draw their matter in the Russian or Austrian literature: it went up or adapted for the scene of the authors such as Musil ( the dreamers , 1988, followed Esquisses of the man without quality, 1990), Dostoïevski ( The Brothers Karamazov , 1990) Rilke ( Malta, or the triptych of the prodigal son , 1991), Thomas Bernhard ( Kalkwerk - the Chalk pit 1992); ( Immanuel Kant and the Family. Ritter, Dene, Voss 1996), Tchekhov ( Platonov , 1996) or finally Hermann Broch.

According to Lupa, which signs itself (in addition to the scenography and sometimes the music of its spectacles) the adaptations and the translations of the texts which inspire it, its predilection for the novelists comes from what “the authors of drama think too much in terms of theater and too little in terms of life. ” It draws from their works of the settings in one envoûtante duration old scene (as example, Malta occupied three evenings, and The Brothers Karamazov or the Esquisses six to seven hours). “It is that a time ago of the theater suitable for Lupa,” wrote Jean-Pierre Thibaudat in connection with Kalkwerk : “entêtant, poisonous, dilated. One will not see a spectacle of Lupa, one settles there as on an island to spend the night there. The theater and the play of the actors lose their effects there. Then re-appear of the childish images that, suddenly, the jolts of an alarm clock scramble which is at Lupa a door which opens on a discrete musical punctuation or a bread crumb which falls with a noise from crystal. There is at his place a taste contaminating to prolong the time of the representation to the extreme, in kind of a soft and nostalgic sensuality. ”

Since 1983, it teaches at the Institute of Dramatic art of Cracow, where it occupies the pulpit of Senior of the Faculty of setting in scene. He is prize winner of the highest distinctions of the Polish theater: the Price Konrad Swinarski (1988) and the Price Leon Schiller.

Random links: