‘Medeas/The Moirai’ is a stage installation that is part of the ‘Anamnesis’ triptych, which Teatr ZAR has been developing since 2013. The first part of the triptych, the performance work ‘Armine, Sister’, which explored the 1915 Armenian Genocide was staged many times (till 2017) in Wrocław as well as in London, Paris, Madrid, Lisbon, Rome, San Francisco, Thessaloniki, Oslo and Warsaw.

‘Medeas/The Moirai’ is dedicated to refugees and their silent stories. The first part of the installation evokes the migratory paths leading to the shores of Europe across the Mediterranean Sea. The second part focuses on the refugees who are fleeing the ongoing war in Ukraine to save their lives.

‘Medeas/The Moirai’ seeks to build a ’territory of remembrance’ through performance/installation; to unite the actors and audience in a joint effort of unforgetting, anamnesis, in order to activate those layers of our humanity that we share with each other regardless of divisive borders, our cultural identity and social identity, and to awaken a ‘witness’ in ourselves.

‘Being a witness‘ does not only mean to tell a story based on facts and records but to generate an inclusive force that opposes the passivity of our era, the passivity of voyeurism. In ‘Medeas/The Moirai‘, to remain a spectator/witness is to have the power to oppose the pornography of death that is so ubiquitous in the media.
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Jarosław Fret

Concept, architecture and musical dramaturgy Jarosław Fret with Simona Sala
Production crew Piotr Jacyk, Adrian Jackowski, Daniel Kuźma, Maciej Mądry, Szymon Tomczyk
Performers (Teatr ZAR) Davit Baroyan, Ditte Berkley, Jakub Gontarski, Aleksandra Kugacz-Semerci, Mertcan Semerci, Orest Sharak, Tomasz Wierzbowski
Stage design components produced by Piotr Jacyk and Paweł Nowak
Samuel Barber’s String Quartet Op.11: Adagio performed by Wojciech Koczur, Marzena Malinowska, Tomasz Bolsewicz, Jan Skopowski
Johann Sebastian Bach’s Prelude from Cello Suite performed by Jan Skopowski

This stage installation is part of the triptych Anamnesis.
Simona Sala’s original work Aletheia is used in the installation.
The installation incorporates songs by Sardinian and Corsican confrateri (singing fraternities), Stabat Mater from Cuglieri, as well as Confutatis and Rex Tremendae by Tomasz Wierzbowski.

The performance work Medeas: On Transgression, which was the starting point for the installation, premiered on 20 October 2016.