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Kolberger Christopher - Interview Chris

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looked today interview with Krzysztof Kolberger from August 2010 on the occasion of his 60th birthday. An interview was conducted in the building of the National Theatre. Can not think it was more apt to choose the place!

National Theatre was his House.
As a graduate of the Warsaw Academy of Dramatic Arts in 1972 got the contract in Katowice, it was obvious that a very quickly return to Warsaw. And indeed, as early as next season, Adam Hanuszkiewicz brought him to his team, which occurred in June 1973 for the first time on the stage of this theater in the "Three-three" Aleksander Fredro Papkin, who played for the change of Daniel Olbrychski.

National Theatre in Warsaw is the institution. In the literal and figurative sense. It is the oldest theater in Poland and one of the three (which is next to the "Grand Opera House located in the same building and the Old Theatre in Krakow), bearing the name of a national institution, directly reporting to the Ministry of Culture.

with this story theater are related to such names as Wojciech Boguslawski, Helena Modjeska, Julius Osterwa, Stefan Jaracz.

period Kazimierz Dejmek directorate and the whole history of the abolition of his presentation, "Forefathers", which became the beginning of the March events of 1968 years, although remember, but I was then still a child (one week after my 10th birthday, was officially the last show, "Forefathers" followed by the famous student demonstration UW)

After Dejmku Directorates in 1968, took over Adam Hanuszkiewicz.

Since 1973, she became the loyal fan of the theater. I remember exactly this moment. A few months before the debut of Christopher in the theater at the National Hanuszkiewicz Adam opened the Maly Theatre Marszalkowska, as the name says, it was a small, intimate room, which hosted most of memorable performances. Intimacy and close contact with the audience the actors emphasized the fact that the scene was located in the middle of the room, the classic division did not exist there. The play "Antigone" in January 1973 was the formal opening of the theater, and also the presentation of the diploma students of the Warsaw Academy of Dramatic Arts m.in Rowicki Halina, who for many years with her husband Christopher Kalczynskim belonged to the National Theatre and Anna Chodakowski, which is the National game today . After this performance, I was simply charmed. Hanuszkiewicz he could how few people of interest to youth classics, his unconventional productions, simple means of expression, straight minimalist set design, contemporary music, film shows actors, great class - all these have led the youth and not just "lgnela" straight to the theater.

For me there was no different - National became for me a true "temple of culture. Then I went too often to a dramatic, contemporary, Atheneum, Studio, but even then, and conducted by the great personalities of the Polish theater - Holoubek, Axer, Warmia, Szajna, none of these theaters was not the place for me to guarantee survival of art of this kind.

Hanuszkiewicz sympatyzantów had many, but her unconventional approach to the classics also shocked many people.

Christopher appeared in the National more or less a year after the tragic death of Andrew Nardellego (coincidence that in June 1972 when I was also on the Narew somewhere in the vicinity of Monterey, but I found out that I was drowned in this area only after returning to home)

Nardelli not only as Kordian, but after "Hamlet", "No-God", etc. was promoted quickly to the role of a young, romantic hero. After his death, that person was missing in the team, was Olbrychski slightly longer saying "too ripe", the other missed by. me that youthful enthusiasm, spurt, commitment.

After the first role of Christopher in "Three for three," it was obvious that it is he will be the romantic hero, a magnet for the audience.

And so it happened. Both in the "great" performances of Polish and foreign classics, and the intimate theater scene Mali often have the opportunity to present their talent, commitment, sensitivity. His recitations, his beautiful, velvet voice zapieraly straight breathtaking.

Sometimes sitting in the first row had a chance to observe, with what a voltage, and incredible engagement played their roles. The word "played" is perhaps unfair. He identified himself completely with the characters.

When martial law Hanuszkiewicz was forced to resign, Chris left the band along with many other actors. Supporting regime was not consistent with its morality and conscience.

When I heard today that almost crying when National was on fire in 1985, I can understand it perfectly. At that time I lived in Hamburg, and when I found out about it, I seized a huge sign. It was part of my youth, I was there at all shows, on some occasions and always recalled this period with great sentiment. So I can imagine what was going on at the moment of his sensitive soul, when after the first collapse of the theater which was undoubtedly the dismissal Hanuszkiewicz and taking over the management by the "duo" Skuszanka / Krasowski the kid at the service of the red regime, there was complete destruction of stripes of not just great historical value, but official who is an important part of his life.

I do not wonder that after the management takeover by Grzegorzewski he returned to the boards of the theater and it was tied to his death. The last time I performed on stage in November 2010 in the play "Much Ado About Nothing."

listened with emotion his recitation of recent years. His voice, already marked by age, illness and suffering is different than almost 40 years ago, but still evokes strong emotions and goes very deep into the heart. As in the days of our youth.

I will miss him terribly.