| Year/Length: | 2023, 130' (Italian premiere) |
|---|---|
| Concept: | Markus Öhrn, Karol Radziszewski |
| Direction: | Markus Öhrn |
| Script: | Markus Öhrn, Karol Radziszewski |
| Set design and costumes: | Markus Öhrn, Karol Radziszewski, in collaboration with Saskia Hellmann |
| Images: | Karol Radziszewski |
| Music: | Michał Pepol, Bartek Wąsik |
| Masks: | Makode Linde |
| Make-up: | Monika Kaleta |
| With: | Wojciech Kalarus, Ewelina Pankowska, Piotr Polak, Magdalena Popławska, Jan Sobolewski |
| Stage Manager: | Łukasz Jóźków |
| Assistant directors: | Anna Lewandowska, Angelika Mizińska |
| Producers: | Anna Skała, Angelika Mizińska |
| Note: | Show in Polish language with surtitles. Translation of poems and songs into English by Marek Kaźmierski. English text editing by Dominika Gajewska |
| Note: | This project is co-financed by the Minister of Culture and National Heritage of the Republic of Poland from the Culture Promotion Fund |
Theatre
Markus Öhrn / Karol Radziszewski - Phobia
Description
Phobia is a convergence of two different artistic practies. Markus Öhrn employs an exaggerated, sharp, almost cartoonish visual language, while Karol Radziszewski employs a research-based and documentary approach, focusing on Poland’s non-heteronormative, untold history. The performance, in typical Öhrn’s fashion, is constructed in three episodes. The Fag Fighters, a pink gay commando from Radziszewski’s ongoing project since 2007, confront members of a family, as well as representatives from the worlds of business and art.
Phobia serves as an ironic critique of society. The creators examine the issue of violence and stigmatizing stereotypes surrounding LGBTQ+ individuals, with the Fag Fighters they take over the language of hatred for their own use. The creators’ critical examination of these three domains – family, business, and culture – serves as a pretext to delve into the exploitation of minority groups, driven by the desire to build their own symbolic capital, amass wealth, or strengthen authority. One of the themes explored is the so-called pinkwashing, for example, when international corporations, capitalizing on excessive consumerism, promote their brands by simulating support for LGBTQ+ individuals. So, what is homophobia then? Is it only explicit violence and hatred expressed directly, or could it be a hidden element in integration scenarios written by heteronormative individuals?
Öhrn and Radziszewski take us on a roller-coaster ride through stereotypes, apparent tolerance, alleged acceptance, and some of our most deeply held, supposedly righteous beliefs.