Bóg – ludzkie igrzysko. Teodramatyka według Teatru Wierszalin
God – the People’s Playground. Theodramaturgy according to Teatr Wierszalin

Summary/Abstract: The objective of this essay is to reflect on the religious dimension of the activity of Teatr Wierszalin in Supraśl. The presented sketch deals with several selected spectacles (Historyja o chwalebnym zmartwychwstaniu Pańskim / History of the Glorious Resurrection of Our Lord, Dziady – Noc Pierwsza i Druga / Forefathers’ Eve – First and Second Night and Bóg Niżyński / God Nijinsky), interpreted in reference to all the efforts of the ensemble and within the context of the social and aesthetic thought of Adam Mickiewicz; the study also corresponds with the theological works of Hans Urs von Balthasar and the aesthetic theories of George Steiner and Hans Ulrich Gumbrecht. Wierszalin appears to be an anthropological theatre deeply immersed in the tradition of the place of its activity and the history of staged plays, which with great acuteness undertake the problems of human spirituality at odds with corporeality, and relations between that primary human existential experience and the doctrines and institutions of Christian Churches. On stage this problem range is expressed predominantly by an intense presentation of differences between the actor’s actual corporeality and the multi-strata message of meanings from the past: the presence of the actor is more important than the text, and all meaning can be deciphered only thanks to the energy of concrete persons, who bring it up to date in the course of a meeting with the public. The poetics of spectacles described in the article carries a possible interpretation of Christianity as an interchangeable part played by God and man.

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