From the reportage by Mariusz Szczygieł Reality, translation by Marzena Borejczuk, Nottetempo 2011

text, direction and performance Daria Deflorian and Antonio Tagliarini
light design Gianni Staropoli
consultancy for the polish langauge Stefano Deflorian, Marzena Borejczuk and Agnieszka Kurzeya
collaboration Marzena Borejczuk
technical direction Giulia Pastore
management and distribution Giulia Galzigni / Parallèle

production A.D., Festival Inequilibrio/Armunia, ZTL-Pro
supported by Provincia di Roma, Assessorato alle Politiche Culturali
in collaboration with Fondazione Romaeuropa and Teatro di Roma
residencies Festival Inequilibrio/Armunia, Ruota Libera/Centrale Preneste Teatro, Dom Kultury Podgórze
with the support of Istituto Polacco di Roma, Nottetempo, Kataklisma/Nuovo Critico, Istituto Italiano di Cultura di Cracovia, Dom Kultury Podgórze
Thanks to Janusz Jarecki, Iwona Wernikowska, Melania Tutak, Magdalena Ujma, Jaro Gawlik
Special thanks to Ewa Janeczek

Reality, reality without show, without audience. To be anonymous and unique. Special and trivial. To have the daily as a horizon. Like Janina Turek, polish woman that for 50 years wrote, in a detailed way, the facts of her life: how many phone calls she got at home and who had called her (38.196); where and who she met by chance and to whom she said “Good-morning” (23.397); how many meeting she had (1.922); how many presents she gave, to whom and what kind (5.817); how many time she played domino (19); how many times she went to the theatre (110); how many TV shows she had seen (70.042). 748 notebooks found after she died in 2000 by her unaware and shocked daughter. Mariusz Szczygieł writes in the reportage where we got to discover this story “Always something happens in the daily routine. We hurry in endless litle tasks without expect it to leave traces in our memory and even less in the memory of the others. Our actions are not in fact made to be remembered but by need. Over time, any effort undertaken in our daily chores is destined to oblivion. Janina Turek chose the daily, everything that is unnoticed, as her object of observation”. What gives a strange thrill in the flow of life of this anonymous housewife of Krakow is that is not a work of art, it is not an intellectual paradox and it was not destined to an audience. From her own personal choice she had intuitively started to ennoble the daily tam tam itself. Why? For us to start from this colossal and mestirious work that are the notebooks of Janina Turek is a natural step to make. It is not about doing a mise-en-scene or a theatrical story about her, but to dialogue between what we know and not know about Janina and to create a series of short- circuits between us and her and between us and the audiance around the preception of what is reality.