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RECENZJE SPEKTAKLU

Czasopismo „Teatr”

Z tak gorącym ładunkiem uczuć rozpaczy, bólu, nadziei i wiary w zbawienną rolę miłości nie spotkamy się w teatrze. Ale to nie teatr, lecz żywy, choreiczny rytuał misteryjny. To opus magnum Teatru Pieśń Kozła ma silne własności terapeutyczne, nawet znajomi ironiści otwarcie płakali na spektaklu. Śpiew jest nad wyraz piękny, znakomicie rozpisany na głosy i niezwykle przejmujący.

Jacek Dobrowolski

Culture.pl

To nie jest tradycyjne przedstawienie. Awangardowy zespół z Wrocławia historię Króla Leara opowiada korsykańskim rytmem i energią zderzającą się na scenie ze średniowiecznymi wielogłosami gregoriańskimi. Zamiast dialogu – oratorium. Poruszająca gra uczuć wyrażona w 12 pieśniach, zabierająca widzów
w oczyszczającą podróż do muzycznych korzeni szekspirowskiego dramatu.

A. Legierska

Songs of Learis the highest ranked performance of Edinburgh Fringe Festival 2013:

THE LIST: Top- rated festival list

The Guardian:

Songs of Lear seems to havealready passed into legendeven though it’s only a work in progress.

Fringe Biscuit:

The director,Grzegorz Bral, conducts his company like a classical orchestra.They outperform; reinventing conventional forms of character and plot, and theatre altogether. Though fresh, it is fearlessly archaic in its grandeur. The performance is ceremonial, consecrated and sanctified, rich in the essence of the play. My five stars were laid bare on outstretched palms, offered in reverence.

The Herald:

Songs Of Lear by Teatr Piesn Kozła (Song Of The Goat Theatre) of Wrocław – which interweaves small fragments of Shakespeare’s text with polyphonic song, carefully choreographed movement and live music – is not only the most deeply affecting show I have seen in Edinburgh this summer, it is also one ofthe most profoundly moving theatre productions I have ever experienced.

The Scotsman:

We begin with harmony, reflected in soft, rich music. But, as the king makes ill-advised choices, the world slips into discord and the music follows suit, in dark rhythms of clapping, chanting and urgent, piercing incantations. Cordelia’s Lament begins in the faltering voice of a child, gathering strength as she grows in maturity. Absent for so much of Shakespeare’s play, here she is given a voice, and her song is full of the pain of someone betrayed by a person they still love.

Edinburgh Festival:

This is essence of Lear, desiccated and condensed; sensed rather than watched and absorbed until it hasn’t just got under your skin, but right into your bone marrow. For the half hour that followed, I was static electricity, too knock-kneed to stand. It is a full-body detox; catharsis pure and simple and transcendent.

Hepiranares:

I haven’t words to describe my trip across the rhythms, emotions and dreams, maybe today, two days later, I’ve seen people who could performer it because they draw lifes, lyrics and songs.

Fringe Guru:

Song Of The Goat Theatre are an extraordinary company, and masters of their craft. Going beyond music that is a joy to listen to, this is a collection of highly evocative and emotionally stirring works and a magical piece of theatre.

Treeweeks:

Without a doubt, this is the best thing I’ve seen at the Fringe. ‘Songs of Lear’ is a dramatic retelling of ‘King Lear’ using song, and Song Of The Goat Theatre use this method to capture the essence of Shakespeare’s play perfectly.

Brobwaybayby:

The choral singing is powerful from the onset: ritualistic, growing into gut-wrenching torrents of emotion. Solos from Cordelia were breathtakingly stirring, climaxing in visceral wails of anguish and gushes of tears. Each song offers a unique feeling and intent.

Festmag:

It is a powerful, arresting approach to theatrical storytelling and it perfectly adumbrates the complexity of Lear. Yet the performance’s formidable power resides largely in the intensity of the music itself.

Matt Trueman:

This is essence of Lear, desiccated and condensed; sensed rather than watched and absorbed until it hasn’t just got under your skin, but right into your bone marrow. For the half hour that followed, I was static electricity, too knock-kneed to stand. It is a full-body detox; catharsis pure and simple and transcendent. In a Fringe chock-full of profanity, Songs of Lear is something sacred.

Edinburgh Spotlight:

Songs of the Goat create an ensemble that breathes together, infusing their work with a tightly disciplined energy that can be, in turn, raw and highly sophisticated. Their precision binds all of this into an impressive piece that lingers after the performers have bowed (to standing ovations) and the sweltering space has cleared, so that Songs of Lear continue to reverberate within you.

A Young theatre:

This desire for movement is realised through small but intimate character connections – they dance or hold each other. There was one moment when goosebumps overwhelmed me, with two of the ensemble sitting on chairs and lamenting, their voices reaching dizzying heights and sending shiver after shiver down my spine. This wasn’t just song, this was untapped raw emotion.

Fringe Review:

This is a very special piece of theatre that carried me away emotionally with the beauty of its sound. I can’t really do it justice – just go see it, hear it, feel it.

Scottish Poetry Library:

Care is taken with each element: storytelling, music, words and the composition of the stage. The structure of the piece is used to free the audience to absorb rather than scrutinise without losing any of the transcendental ferocity, power or vulnerability in the source material.

Bądź pierwszy

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