choreography, dramaturgy: Iza Szostak
scenography, costumes: Anna Maria Karczmarska
music: Krzysztof Kaliski, Łukasz Maciej Szymborski
lights: Michał Głaszczka
video: Hanna Maciąg
text of grandfather's letter: Iza Szostak
stage manager: Hanna Gruszczyńska
występują: Mirosław Guzowski, Marta Malikowska, Jan Sobolewski, Iza Szostak, Izabela Warykiewicz
The concept of the performance is based on the “four-level access control model”, which is used by EU’s Frontex in an effort to protect the borders of the European Union.
An illustration published in one of its brochures – whose aim was to depict actions, procedures and subjects which compose this model in a reasonably simple way – became the inspiration to create a singular theatrical board game in which characters such as The Child’s Body, The Border, Lex Frontex, The Refugee and The Artist face up to challenges and carry out strategies tightly bound to the protection, the crossing or the blurring of borders, migration policy and – above all – the economy. Documents, ethnographic and sociological articles, refugee atlases; various discourses on migration, mobility, refugees, territory, sovereignty, control and surveillance and borders, as well as images and photographs become the starting point for theatrical and performative games, thanks to which this most significant subject of the public debate nowadays is analysed.
Bartek Frąckowiak: The refugee crisis became a focal point in the Polish public debate; an issue which pushed many people to an attempt to define their position on it. Vassilis Tsianos, who is an expert in EU-border sociology, became a major inspiration for me to reflect on the issue and conceive the show. He claims that the concept of Europe as a stronghold dedicated solely to refusing access to itself is false. Tsianos points to the imprecision of this metaphor. Borders are not sealed, in fact they are porous and permeable; border control, refugee camps and the whole system dedicated to border flow was conceived to delay the movement of people, organize and properly manage it due to capital. We are dealing with vast numbers of people who are treated as cheap labor, which in turn intensifies their exploitation. Vassilis Tsianos claims that the entire border control system serves to delay the movement of people enough for the capital to accommodate a certain number of those crossing the borders. And indeed, sometimes a certain number of refugees are allowed in.
In “Expres Bydgoski” Jarosław Reszka praises “Borders” directed by Bartek Frąckowiak for, among others, the pace of the show, the choreography and acting. He singles out the choreographer Iza Szostak as “… a true talent and a promise for the Polish theater”.
Upon seeing the show, a TVP Bydgoszcz reporter Paulina Rubczak described it on Facebook: “the show is exquisite; it will stir things up and last a long time”.
Anita Nowak from the vortal “Teatr dla Was” highlights the unique and impressive technical solutions which make up the audiovisual aspect of the performance: “what is incredibly striking about it is, for example, the railway tracks made with lasers, the train headlights or the seeds spilled at a certain point by the Refugee, which she’d brought from her home country”.