Kadrowanie tożsamości
Cropping Identity

Summary/Abstract: Dobrowolski notes that a key adaptation device used by Paweł Wodziński, director of Gombrowicz’s The Wedding, at the Polski Theatre in Bydgoszcz (prem: 17 XI 2012), was equipping Henryk with a camera and making him a documentarian. The entire dramatic projection of Henryk’s state of mind is in fact presented in media frames extended between the initial switching on of the camera and the final switching off of the TV set standing on the stage. The second important procedure that Wodziński employs is the casting of amateurs in all the supporting roles. In this play, the stage, as an ideal representation of the whole world, is a place in which illusion is created, and any naturalness is the outcome of long and demanding exercises.

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