This time the voice of the CHORUS is directed against market oriented reality. It is the body/voice of society stuck between the terrors of unemployment and requirement of over-strenuous work. The chorus of performers comes on stage in order to present an ecstatic requiem for a system in which freedom is transformed into the technology of power. The libretto draws on Władysław Broniewski’s poems, excerpts of speeches, letters and children rhymes, confronted by the CHORUS with philosophical discourse, advertising slogans, songs of socialism realism and heavy metal. “I am the burnt sacrifice of every system,” Broniewski wrote about himself, revealing the dramatic tension between the devastating pressure of ideology and the faith in the power of poetic word, which was to revolutionize the world and rescue subjectivity.

As Marta Górnicka says: “REQUIEMASZYNA is an essay about the relationship between language and power. The point of departure for this work was the rhythmic-robotic language of Broniewski’s poems and his shocking poetic life, which got mixed in my head with Benetton’s advertising campaign “Unemployee of the year”, the Imperial March from Star Wars, the sound of poet’s larynx eaten through by cancer. I was intent on exposing the totalitarianism of modern strategies of supervision and discipline; the mechanisms which transform the inhabitants of a neoliberal paradise into an army of workers/robots.”

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