Anja Suša | Blood on the Cat’s Neck-Marylin Monroe vs. Vampires
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About This Project

Blood on the Cat’s Throat. Marilyn Monroe versus vampires

RAINER WERNER FASSBINDER Blut am Hals der Katze/ Blood on the Cat’s Neck



COSTUMES Maja Mirkovic


MUSIC: Krzysztof Kaliski


CHOREOGRAPHY Damjan Kecojevic

LIGHTS Robert Łosicki

VIDEO Mikołaj Walenczykowski

STAGE MANAGER Mateusz Stebliński

CAST Beata Bandurska, Maciej Pesta, Martyna Peszko, Anita Sokołowska, Małgorzata Trofimiuk, Jakub Ulewicz, Konrad Wosik, Małgorzata Witkowska oraz Jagoda Długosz, Grażyna Grzelak, Maria Jazel, Halina Kanarkowska, Sławomir Majczyk, Emilia Malczyk, Teresa Perlik, Monika Skorobohata

We’ve tried not to challenge the accuracy of diagnoses theatre and not to deprive of their credibility. But for years the theatre has not started any revolution. It has not created any patterns for new institutions.

It has not reformed the language of a public debate, has not eliminated social inequalities. This is not the theatre that brings people to streets. We must have overestimated the strength of its impact. Or we may have been questioning it too rarely.

The German film director Rainer Werner Fassbinder, known for his distrust of conventional languages of art, easily used to give his films a gangster, melodrama or science-fiction frame,used to explore genre cliches and reveal their violent structure. In more than forty films, which he was able to produce before his death at the age of 37, Fassbinder actually used to tell one story, keeping rewriting it  for many screenplays. It is a story of violence and fascism emerging in small communities, in individual relationships, on the set – seemingly ephemeral and interpersonal relations free from consequences . It is also a challenge to  film and theatre techniques and their users.  Bloodon the cat’s throat, a play not performed in Poland so far, invites the audience and actors to participate in a hyper-realistic game. Is any look woven through the grid of glances thrown from the stage onto the audience and from the audience onto the stage  innocent? How are the roles in the theatrical reality assigned? And why do theatrical revolutions tend to be doomed to failure?