class="">Krystyna Meissner: “It’s not at all easy to be the selection manager of a festival!”

She is called the Iron Lady of Polish Theatre. 81 years of age, director of theatre shows, opera and television, she’s lead theatres, started and managed festivals, Krystyna Meissner is the manager of the Dialogue Festival at Wroclaw, the greatest theatre festival in Poland, and she’s come to the NTF to see the shows by directors Radu Afrim and Gianina Cărbunariu.

An interview by Adina Scorțescu

Is this your first time at the NTF?

No. Following the last edition I’ve seen, I invited Gianina Cărbunariu to Poland, with her show “20/20”. In another edition, I’ve seen “The pillow man”, one of Radu Afrim’s first productions, very, very good. I wanted to bring it to the festival, but I can’t remember why I didn’t succeed, if the trouble was here or in Poland. So this time I’m here at the NTF to see the shows of Gianina and Radu.

What other shows have you seen?

I’ll see Gianina’s today. After that, another one, I don’t remember what it’s called ( she looks for the playbill in her purse) . You know,it’s very difficult to choose what you want to see when you know nothing about the shows.

So, how do you choose?

I ask people, if I have anybody who knows them. In Hungary it’s much easier, because I know critic Andrea Tompa very well. There are also the people from the Polish Institute, which is very good; I can ask them. I don’t believe everybody’s opinion, but I can guide myself using them. Here, however, it’s much more difficult, I’m not sure why (laughs).

So you go to the festivals to see shows you can later bring to your own festival.

Yes. My festival happens once every two years, the next edition will be in October of 2015. Half the shows are already chosen: from the Netherlands, from Spain. And I thought that,maybe, I would find something interesting in the south-east of Europe / Bulgaria, Romania, Hungary. I like to have shows in my festival that aren’t present in any other European festival, who just copy one another’s lists. The ones in Vienna, Berlin, Avignon…they’re all copies, more or less.

I’m looking for something good, something that interests me. This is my only criterion.

What does theatre mean to you?

First, it must contain an idea, one that’s interesting for the audience. They, the form is very important, the theatrical language. It also has to be well acted. And, if all of these happen in a way that’s never been seen before… well, then it’s wonderful.

What does this Dialogue Festival which you run imply?

The basic idea is that of dialogue, of the clash. A confrontation between foreign and local, Polish, productions; if it’s possible. It sometimes isn’t. There are however a great deal of meetings, we talk about the ideas behind the productions and so on. Discussions about the shows are very important in my festival. I was very happy to be able to invite Gianina to the last edition.

What were the reactions following the show?

Very good. All of the sudden, she began getting invited everywhere! I don’t know if that’s thanks to me or not (laughs)

I’m just glad that, through my work, I help the careers of well-known directors. They’d become well-known anyway, but maybe not as fast. That’s what I’ve been doing so far. For instance, the entire Lithuanian theatre- Koršunovas, Nekrošius- I showed it from the very beginning, in the first festival I ever managed, Kontakt. I brought them to the festival, and then they began being accepted by everyone. I think that’s my duty. And it makes me very happy!

Do you think there are similarities between the types of theatre in countries with a shared history, for instance those of Eastern Europe?

No. There are huge differences, because of the character of each nation.

For instance, Romania?

Theatre is more spectacular, you have certain sensitivities with regards to form. As far as I remember, Silviu Purcărete’s productions are very rich in set design; for him, the way things are done on stage is very important. And I think that has to do with your national character. You like showing off; in the good sense of the word.

The golden generation of your theatre is made up of Silviu Purcărete, Gábor Tompa, Măniuțiu and so on. They were invited to all the European festivals. Now…they’re getting old; it’s natural. I’m trying to meet your new generation of directors. I thought they were Afrim and Gianina. But, we’ll see… maybe someone else shows up.

What is Polish theatre like?

I think we’re in a bit of a crisis. It’s just like your theatre. The old generation is nearly ousted. They’re very good / Krystian Lupa and the others- but they’re nearing their end. And the new generation is not yet good enough. They’re smart, but they want to make a very quick career. For fame and money. And that’s not a good thing, because it leads to a superficial theatre. That’s my opinion. I try to find the good shows, but it’s more difficult than it was a few years ago. There are many productions, and yet…

Even before coming to Bucharest, I was in Krakow, thinking I’d find something for my festival. No, nothing. And we’re talking about one of the biggest theatres in Poland, Stary Theatre. (laughs) So it’s not at all easy to be the selection manager for a festival!

So, how many festivals do you go to a year, to choose the shows you invite to the Dialogue Festival?

It’s not just about festivals. Usually, I hear people talking about various productions and I ask for the DVD recording. And, if I like it, I go and see the show, because it’s a whole other thing to see it live, with an audience. But, it must first prove interesting on DVD.

What’s the theme for next year’s Dialogue Festival?

A world without God. Dostoievsky used to say: “If there’s no God, anything goes.” (laughs) The atmosphere is of such nature in Europe, that anything goes. We’re surprised when we turn on our TVs in the morning and see what’s happened on the previous day.

Photo: Lucian Muntean