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Klaipėda Drama Theatre
Grand Hall
Duration 3.30 (with intermission)

Premiere 2022

Author of the play and playwright Joanna Bednarczyk
Translated from Polish Gintaras Grajauskas
Director Michał Borczuch
Scenographers, costume designers Dorota Nawrot
Lighting designer Robert Mleczko
Composer Bartosz Dziadosz
Author of video projections Wojciech Sobolewski
Assistant directors: Sara Dec, Alius Veverskis

Darius Meškauskas, Digna Kulionytė, Dominika Biernat, Jan Dravnel, Jonas Baranauskas, Karolina Kontenytė, Karolis Maiskis, Marta Ojrzyńska, Renata Idzelytė, Rimantas Pelakauskas, Samanta Pinaitytė

Recent future. After the great catastrophe, all the computers, phones and the internet itself have stopped working. There is no way to record or restore any of the digital images created in the past. In this post-apocalyptic reality, a group of archeologists, ethnographers, and performers is looking for artifacts of an old world. One day they dig out a camera made by a Swiss company, Bolex International SA. As it becomes clear from the archive materials, Bolex cameras were widely popular in the sixth and seventh decades of the 20th century. Some of the most famous users of these cameras were Andy Warhol, Terry Gilliam and Jonas Mekas. Mekas made all his films using only Bolex. What can a director do without a film set, a technical team, and actors? Is one Bolex enough to make a movie? Intrigued by Mekas’ personality, members of the team gather more and more information about his life and creative work. Jonas Mekas was born in Semeniškiai village in Northern Lithuania. He was mesmerized by cinema and literature. He wanted to become a poet. In 1944, he left the country with his brother. The next five years he spent in Germany, in labor and refugee camps. In 1949, Jonas and his brother came to New York, where his second life began. At that time, when the possibilities of digital recording of reality were still very limited, J. Mekas started developing his own creative method by constantly documenting everyday reality with his Bolex camera. The choice of these moments, recorded on film, is not subjected to a screenplay or to some genre conventions. J. Mekas shoots only what interests him for personal reasons. “There are plenty of ways to shoot”, he said, “Although at one particular moment you can only choose one”. Something from within – your whole past – leads you to choose this particular way. So actually, you aren’t filming a tree; you’re filming your memory of a tree. You film all those reasons that predetermined you filming of this tree. And you have to combine those two things: the tree and those reasons that made you film it.” And that’s how those extreme subjective movie notes, reflecting the artist’s perception of events, characters, and memories, come to be.

In the seventh decade, when Hollywood films were structuring movie genres and narrative patterns, igniting the audience with stories about the Wild West or the Civil War, a Lithuanian refugee from Semeniškiai created his own unique method of avant-garde cinema that charmed all of New York’s artistic community, led by Andy Warhol. Who was this humble poet from a small Eastern European country, to whom the United States of America owes such an institution as the Anthology Film Archives?

Based on surviving materials on J. Mekas – his own diary, which he kept during the war and a few years after; an interview with J. Mekas and several interviews that he filmed with such famous people as Yoko Ono, John Lennon, Susan Sontag, or Vytautas Landsbergis – a group of researchers try to unveil the phenomenon of this man, to get closer to his unique method, and to document the thing that tends to constantly disappear in our everyday experiences – the subjective truth of reality.


Michał Borczuch is a graduater of the Faculty of Theatre Direction at the Ludwik Solski Academy of Dramatic Arts in Krakow. While studying theatre direction, he was Krystian Lupa’s assistant on Mozart’s “The Magic Flute” that premiered at Theater an der Wien in 2006. For a year, Borczuch worked with Patrice Chéreau within a framework of the grant program The Rolex Mentor and Protégé Arts Initiative. He won the Paszport POLITYKI, the prize for the achievements in the cultural field initiated by the most important weekly magazine in Poland. Michał Borczuch made performances with socially disabled children and autistic people.
His “Apocalypse” premiered in Nowy Theatre in Warsaw (2014). The characters include the biographies of Pier Paolo Pasolini, Oriana Fallaci, and Kevin Carter.
In 2016 a premiere of the play “All About My Mother” took place at the Łaźnia Nowa theatre, in Krakow. The artists created this performance based on their experiences; they both lost their mothers on an early age.
“Apocalypse” and “All About My Mother” won the grand prize at Divine Comedy Festival in years 2015 and 2016 and several other theatre prizes in Poland.

In 2017 he debuted as a film director with an independent movie “Komodo Dragons”.
In 2018 he directed “My struggle” an adaptation of Kark Knausgaard saga in TR Warszawa. Since 2018, performances focusing on the issues of the queer community have been created: “The Frogs” by Aristhophanes (Studio Warszawa Theater) and “An apartment on Uranus” by Paul B. Preciado (Nowy Teatr Warszawa).
He works in Poland and abroad. The last foreign production is “Lost Lost Lost” (Klaipeda Drama Theater, Lithuania 2022), inspired by the life and work of the master of the American avant-garde film, from Lithuania, Jonas Mekas.