The creators of this visually unique production viewed the famous play as if it were a disk containing data from the past, and the motifs and themes preserved on it that are the most essential for our civilization underwent a conversion, a certain cultural process of recycling: “Wyspiański’s Greek mythology and Old Testament are replaced by science, technology, form. […] On the stage, we don’t see any of the misterium which Wyspiański wanted, we only bear witness to the trance that the actors fall into, plunged into motionlessness, into self-examination. It’s a strange state in which a body dissolves in a reality composed of images, sounds and surfaces. Twarkowski puts emphasis on two of the play’s motifs: he examines the brotherly relations between Hector and Paris, and between Jacob and Esau, and contrasts them with the father figures (Priam and Isaac). Suddenly, from beneath the mythological and biblical ornamentation, characters emerge who are trying to understand who they are and why they exist,” wrote Łukasz Drewniak in Dziennik Polski.

Bogdan Brzyski Amor; Parys; Ezaw
Paweł Kruszelnicki Anioł I; Hektor; Laban
Marta Ojrzyńska Anioł II; Helena; Lia
Iwona Budner Anioł III; Hekuba; Rebeka
Zbigniew Ruciński Anioł III; Priam; Izaak
Zbigniew W. Kaleta Hektor; Jakub
Małgorzata Hajewska-Krzysztofik Kasandra; Ted; Anioł
Małgorzata Zawadzka Niewiasta; Andromaka; Rachel
Małgorzata Gałkowska Pani; Andromaka; Rebeka