Based on Aglaia Veteranyi’s literary work
Directors: Tomasz Rodowicz, Małgorzata Lipczyńska
Drama consultant: Hans Timmerman
Cast: Małgorzata Lipczyńska
Stage movement: Małgorzata Lipczyńska
Choreography consultant: Liat Magnezy
Music: Kuba Pałys
Light and sound: Tomasz Krukowski
Premiere: 12.11.2011, Fabryka Sztuki in Lodz
Małgorzata Lipczyńska’s monodram, entitled “suremaybe”, based on the literary work of Aglaia Veteranyi, is a story about crossing emotional, geographical and time borders, a story about being addicted to constant intensity, even if it leads to destruction. One of the most important elements of the performance is revealed in the question asked by the actress: “What is it that makes a norm for some people what is extreme for most?”
Aglaia Veteranyi was born in 1962 in Bukarest, in the family of circus artists. Having escaped from Romania, the family found asylum in Switzerland, and then led a nomadic life, presenting their shows on the way. Aglaia did not learn how to write until she went to the Swiss boarding school. In 1999, her first novel was published („Warum das Kind in der Polenta kocht”). On 3 Febuary 2002, she jumped to the Lake Geneva in Zurich. She had left her shoes at the lakeside.
Małgorzata Lipczyńska: - In one of her interviews, Aglaia said, “For me, writing is a form of transformed aggression. If this aggression stayed inside me, it would destroy me and I would eventually kill someone with a knife.” Writing was also a way to tame her own demons. For me, theatre is such a way. Giving a form to your fears and obsessions, as well as to delights and fascinations helps to create order in which it is easier to live. These seemingly unrelated texts reveal a personality shaped by contrasts, in which a love to the world is mixed with deep depression, and childlike naivety faces cruel truth. Vitality is paired with the omnipresent sense of death, sensitivity and subtlety walk hand in hand with sadomasochistic sexuality, motherly love is tangled with paedophilia, endless devotion coexists with rape. There is one thing that is constant in this multitude of dichotomies and ambiguities – whatever happened in her life, Aglaia would get totally involved in it. The more I read, the closer she felt to me. With time, finding a way to tame my own disease become most important. How to be constantly alert, keep a careful eye on it, but not lose a distance to myself? I think that Aglaia (despite her suicide) managed to win this struggle, because, as one of her friends said, „You cannot consider a sad ending as a verdict over the way of living.”
And that is it. We had to met.