Premiere of the play based on Maxim Znak's "Zekameron": impressions

The premiere of the play based on the book of political prisoner and attorney Maxim Znak "Zekameron" took place in Warsaw. The Free Kupałaŭski Theatre* staged a performance based on Znak's stories, and tickets for both plays sold out in one day. Performances are also planned for June.

We asked the audience to share their impressions. We especially thank Yuri Kozikov for his assistance in drafting the material.

*company and staff of the Janka Kupała National Academic Theatre, currently in exile

Yuri Kozikov. Attorney, deprived of the right to practice, defended Maxim Znak

I'll try to be objective.

I really liked the play; I consider it professional and emotionally powerful. The atmosphere that Maxim wanted to convey in the book was successfully preserved and enriched through the actors' performances, the musical part, and the visualization. Tickets sold out for 2 performances in 1 day; the premiere was sold out, and people are waiting for new screenings — this is the best indicator of relevance.

It was nice to see many free people with lively eyes, but I couldn't talk to anyone yet because after the performance, I was completely overwhelmed with emotions, memories, and thoughts, and this is, of course, the merit of the theater.

About the event itself (I'll try to avoid spoilers since new screenings are already announced for June): the genre "Prison Kvartirnik" [house concert format] was announced, and I think the concept was executed perfectly. A “kvartirnik” is an informal event that simultaneously involves performers and spectators. It was a very intense visual and emotional connection. And it worked. When silence and contemplation were needed, the audience was silent; when laughter was needed, they laughed; when applause was needed, they applauded…

The play brought together a series of short stories from Maxim Znak's collection "Zekameron" into a single event. Music became the basic unifying element, and the songs also complemented the presented plots. The content and emotions were emphasized by the conciseness of the cast, props, lighting, and sound effects.

The stories of "Zekameron" are emotional canvases where pain is juxtaposed with joy, absurdity with meaning, hopelessness with hope. The content may seem outwardly simple, but behind this simplicity often lie serious philosophical questions that are not openly discussed. Attention is paid to details that are usually overlooked by people out there because we are all rushing, working, studying... The production highlights these strangely precise parallels found by the characters in the stories. The idea of ​​the importance of finding a purpose, occupation, to remain human and not lose one's mind in the toughest conditions is well conveyed.

The contrast between the external bondage and the internal freedom of the characters was successfully portrayed, giving momentum to the plot. Maxim Znak is an attorney, so legal references are essential; however, the essence of legal default, about which Maxim spoke when he was a free attorney, is disclosed here. For those who have not yet read "Zekameron", there's no need to worry: there is no bureaucratic language in the stories or the production; they are written and performed for people. Both the book and the play appeal to a wide audience. I know that some people consciously or subconsciously avoid reading/watching works about lack of freedom, but "Zekameron" is an example of another work that can be read and felt without an overwhelming oppressive character.

The collection "Zekameron" is a patchwork of short stories, and the task for the directors of the production and the actors was not easy because they had to show an organic unity in composition. The advantage of the collection is that the play can be developed by changing the stories (plots), and their interaction will give a different emotion. Only some of the stories were used in the production, which further motivates reading the unrevealed plots. An interesting find is the contrast between two languages: the characters in the cell speak Belarusian, while those outside speak Russian. It's also worth noting the presence of subtitles in Polish, which makes the production understandable to foreign viewers, and most of the plots will also be clear not only to Belarusians.

The actors and creators of the performance treated the book, the changes, and musical compositions with great care, so they organically fit into the format. Outstanding performances by the actors, true professionals, allowed every viewer to be drawn into the joint action within the framework of a single space. The audience didn't feel like mere spectators or guests. The play ended with a standing ovation and endless applause for everyone involved in "Zekameron".

Deep gratitude to everyone involved in the production! And recommendations to attend new events!

Yana Halahan. "Viasna" human rights defenders

A play based on Maxim Znak's book with his real prison stories is a good opportunity to convey the complex lives of political prisoners with simple words and artistic approach. But in funny moments, it was necessary to return to reality, reminding that right now thousands of such stories are being written in the confines of detention facilities. Still, it was possible to breathe a little when you understand that even in those conditions, people keep laughing, dreaming, arguing over everyday matters, and that life goes on.

But the most poignant moments were Maxim's words dedicated to his loved ones. When you hear him addressing his son, who "now must raise himself instead of his father," who was deprived of his freedom simply because someone whimsically wanted it, your heart breaks into pieces.

Nadezhda. Lawyer

I read "Zekameron" some time ago, and I was curious about how it could be realized on stage. In the novel, there are a hundred short stories, and it's clear that not all of them can fit into one play, but those selected by the director and embodied by the actors, in my opinion, beautifully illustrated the work. The stage was well chosen (or it just happened that way). In the front row, you feel like you're in that hut (cell), the desk (table in the cell) stands right in front of you, and those sitting behind it seem to be talking and discussing something directly with you.

Everyone knows that Maxim is the author of hundreds of songs and poems, he plays the guitar. There was a guitar on stage. Songs were woven into the play, and I think it was a great idea to invite Vladimir Pugach, J:Mors leader, to perform one of the roles.

It was funny; the audience often laughed because Maxim is a very positive person and even in such a difficult, unfair situation and in such a hopeless place, he managed to preserve and convey his humor to us. Some stories brought tears to the eyes, and you could even hear people sniffing in the audience. It was sad because of the hopelessness of what was happening and the realization that Maxim and many other political prisoners are still there, in this absurdity.

I would say it was a premiere tinged with sadness. Sadness because the author of the novel was not present at the premiere. But I am very glad that Maxim's voice, isolated from everyone and subjected to a regime of non-communication, was heard now, even from the stage. Thanks to Kupałaŭcy and everyone who participated in the realization of this play.