Project Arts Centre

Dublin Theatre Festival

28/09/18

Originally published on The Reviews Hub. 

In writing about Anna Karasińska, theatre critic Tomasz Plata coined the term “post-theatre” to describe her work which pushes aside many traditional theatre techniques and conventions, in order to create theatre that does not rely on theatrical illusion or the fourth wall. As her latest work, Fantasia takes to the stage and we see this in action, it becomes clear just how little is needed to create an engaging piece of theatre.

The six actors stand on the stage, awaiting instruction fromKarasińska, who has hidden herself in the auditorium. Karasińska then begins to speak to the audience, giving a little explanation before beginning to issue instructions to the actors – “Agata will now play a person in a far off land who packed raisins in a box for you,” “Adam will play a person who might be wearing a suicide vest,” “Dobrimir will play a man ashamed to dance to a song he likes.” These instructions make up the basis of the piece, as the actors perform their roles to different degrees. They have almost no props, few lines, plain clothes and no set; they simply use the power of the imagination and challenge the audience to do likewise. Some instructions lead to a short scene, while others make a minimal impact on the action on stage. Karasińska’s descriptions paint an image which the actor and audience are imaginatively complicit in.

It is this bizarre semi-imaginary state that makes this piece work; the actors find humour in doing almost nothing, and the audience agrees to this absurdity and laugh. It is a very connected theatrical experience, as everyone relies on Karasińska’s voice and the actors rely on the audience to not only suspend their disbelief but to actively believe. This makes moments where Karasińska breaks out of her instruction to apologise for mistakes particularly interesting, as the audience wonders what is planned, what is accidental, and what is improvised.

Though this is an irreverently entertaining piece of theatre, it is worth noting that on opening night it ran over its stated running time and, in doing so began to tire itself. Originally billed as a 55-minute performance, once it ran over an hour long, it lost some of its energy and sharpness. Had it been shorter (perhaps even a few minutes shorter than the stated running time) it would have held engagement and pace more effectively.

However, the unusual theatrical experience Karasińska creates in Fantasia is refreshing and exciting, eschewing theatrical convention to create something new, immediate and imaginative.

Runs until 14 October 2018 | Image: Magda Hueckel