skowyt

Jakub Olszewski – A one-man band. A versatile multi-instrumentalist from Sokółka, a student of art therapy, an avid fan of jazz music, also fond of heavy rock and metal sounds. Founder of the band PZGNW. Kuba successfully creates theatrical soundtracks as well, and in "Skowyt", he is responsible for the entire musical composition, which captivates with its mystery, inviting the audience to a true musical feast. The mystical compositions in "Skowyt" not only paint scenic pictures with sound but also open doors to a mysterious world of emotions. Kuba skillfully weaves sounds, creating an atmosphere that will captivate many viewers, deeply moving their imagination. His work is not just a chord, but an invitation to an unforgettable theatrical experience.

Malika Tomkiel – She is. A person, a woman. She writes, teaches yoga, and is not afraid to confront difficult topics. Her texts have been published in magazines such as "Slow," "DUMA," "EPEA," "Zwierciadło," "noizz.pl," "Vege," "Freshmag," "portalyogi.pl," and "Kraft," where she was a co-founder and editor-in-chief. Her literary debut, "Biel Kości", addressed eating disorders in a candid and unprecedented way. Wanting to translate written words onto the stage, she completed studies in Dramaturgy and Screenwriting at the Polish Academy of Sciences. She lives in Podlasie, although she does not attach herself too much to places or objects, editing books and guiding authors through their publishing process. In 2023, two new works by the author were released: "Twój wewnętrzny głos" and the latest and first extensive poetry volume: "Każdy ma jakiś problem" (September 2023).

The performance presented at:
– 32nd Alternative Theatre Meetings KLAMRA 2024,
– International Literary Conference EUROPEAN BEAT STUDIES NETWORK 12th Annual Conference “The Beats: Wilderness and Wildness” 2024,
– Puppet Monodrama Festival MONOTEATR: Materia ożywiona, Gdańsk 2024.

Ginsberg, Orwell, and the great spider

In this year's program of "KLAMRA," there was no shortage of monodrama, as well as puppet theatre. Marcin Tomkiel merged these two forms in his piece "Skowyt". Along with Malika Tomkiel and Jakub Olszewski, he created a performance that transports the audience to a world on the edge of Orwell's dystopia and the realities of Ginsberg's poem, while also highlighting the problems of our small, intimate realities.

The protagonist of the monodrama is Allen, a young man living alone in a foreign city, far from his family. The rhythm of his life is determined by work and attempts to disconnect from the world around him. He indulges in consumption, virtual reality, and drugs. This image is disrupted by the appearance of his anonymous love. This day becomes a moment of hope for Allen, which, as suddenly as it appeared, vanishes with the mysterious woman. The young man then plunges into further intoxication, experiencing visions and encountering Moloch, the god of materialism.

Marcin Tomkiel's performance is primarily an audiovisual feast. The atmosphere created by the live music performed by Jakub Olszewski, combined with the persistent twilight on stage and the nearly apocalyptic set design, fills the theatre with a sense of unease. The combination of electronic music with distorted guitar sounds conveys emotions as powerful as the words spoken by the actor on stage. This is undoubtedly one of the strengths of "Skowyt".

Both the puppetry and Tomkiel's performance perfectly matched the atmosphere created. Allen was an excellent and plastic carrier of content and emotions. Meanwhile, the characters of the unknown woman and "Moloch" embodied the key issues of the piece: loneliness, fear, materialism, and domination.

"Skowyt" is a textually chaotic and ambiguous piece. It leaves the audience with a great deal of interpretative freedom, without outlining a broader context. It is not an easy play for fans of fictional narratives, but it certainly encourages reflections on the life of the individual in the world around us. Marcin Tomkiel's "Skowyt" is a play that demands not just viewing, but experiencing.

– Mikołaj Dobek, Danka Greding | source