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translation: Jerzy Jędrzejewicz

direction and text adaptation: Mikołaj Warianow
set design and costumes: Magdalena Maciejewska i Sylwia Torsh
music: Paweł Mykietyn, Piotr Domiński
arrangement music: Piotr Domiński i Horst D'Albertis
aniamtions direction: Piotr Dumała
lighting: Piotr Pawlik

cast: Magdalena Cielecka, Aleksandra Konieczna, Maria Maj, Aleksandra Popławska, Iwona Wszołek/ Magdalena Boczarska, Joanna Żółkowska / Iwona Bielska, Witold Dębicki, Zbigniew Kaleta/ Andrzej Chyra, Marek Kalita, Cezary Kosiński, Waldemar Obłoza, Jacek Poniedziałek, Robert Więckiewicz, Mirosław Zbrojewicz oraz Adam Marszalik

In interviews with Jarzyna there is often a phrase which may function as a key to the interpretation of the performance: what we see on stage may be simply a vision, a Myshkinesque hallucination. Do audiences need a similar explanation or, perhaps, "excuse"? In common with other Jarzyna performances, this one is filled with moving music, which transforms words and events into symbolic pictures. This is an expression of a particular, most unusual sympathy towards the story told, moments of pure suggestion, the opening of awareness. It is highly likely that Mikołaj Warianow could say: "Prince Myshkin - it is me". In this context the stage interpretation of Jarzyna becomes coherent, and we see a picture which is a figment of Prince Myshkin's awareness.
Natalia Jakubowa, Didaskalia

The performance based on Dostoyevski's The Idiot is in many ways outstanding. Firstly, because the director rejected the stereotypical wallowing in the human quagmire associated with Dostoyevski. He showed the heroes of The Idiot - declassed aristocrats, voracious officers, impetuos soldiers, maidens going mad with boredom - with warm humour, he gave those wicked people a chance of deliverance. Secondly, the actors are excellent: Cezary Kosiński as Myshkin and Magdalena Cielecka as Nastasia Philipovna. They both tore the sentimental color off the characters -all those sighs, all that trembling and quivering stemming from the 19th century - and their performances created strong people for whom the world is too tight.
Roman Pawłowski, Gazeta Wyborcza

This direction is a real masterpiece. The interplay of all types of sounds, the play of lights, the invisible change of decorations (and the decorations are beautiful), each actor's gesture is studied to the tiniest detail, and everything is conducted in a masterly way, breathtaking.
Michel Cournot, Le Monde