About the play V(F)ICD-10 TRANSFORMATIONS
Can one develop a consistent and unequivocal vision of the near past? Definitely not – although that's certainly no reason not to address this topic. It's rather easy to predict the scenario in a "Fall of Communism” exhibition. Our thoughts about the twentieth anniversary of that major event are still primarily dominated by such symbolic gestures as the Round Table Talks, the fall of the Berlin Wall, or by catchy slogans about a "velvet revolution”, "our President, your minister president” and the later "war on the top”. There would some mention of economic reforms, either substantiated by the phrase "Balcerowicz must go” or "Balcerowicz must go on", depending on the viewpoint. Changes to architectural landscapes may also spring to mind, especially in large cities, with their rapid growth of tower blocks and increasing numbers of kitschy shopping malls. If we were now to ask for people for names associated with the transformation process in Poland, we would end up with a list of politicians from every political leaning and headed by Lech Wałęsa. And then the exhibition would finally be complete. Depending on the target group, it could, of course, be expanded by a range of better or lesser well-known events covered by the media. But is that really the whole truth about the transformation? Perhaps we are dealing here with the "Gołota syndrome” or the situation Adam Michnik dubbed "Poles can!- Miss everything"?
Large gestures alone are not enough to voice the real changes that have taken place. In this case, grey everyday reality is far more important – less media-effective and harder to grasp, but pitilessly real. For that reason, the transformation task is said to comprise, first and foremost, changing human consciousness. Unfortunately, here it's often easier to find increasing frustration than wild euphoria. And consequently large, symbolic gestures are increasingly made to serve the interests of different political groups. Each one of them hopes this area will provide them with a basis capable of attracting growing numbers of voters. Each has an individual vision of great gestures, and is ready to do everything necessary to ensure that view becomes accepted. Consequently, the 20 years of freedom are, above all, a period of fragmentation and the political exploitation of the myth of freedom. At the same time, this process reveals how the sphere of "the most recent history” is an area where there is no coherent narration. And that is precisely the moment which ushers in a major disappointment – an apparently simply exhibition scenario can, in reality, never be written. In this case, fulfilling everyone's expectations would beget the biggest lie.
There may well, then, be good reaons to create an alternative narrative and examine the system's transformation period through the eyes of socially marginalized people. Only by taking an ironic look at the system from outside, can one perceive the paradoxes of all the narratives existing at present.
Rather than "V-ICD 10- Transformations. The Therapeutic Theatre” directed by Paweł Łysak serving to elaborate a genuine narrative referencing the recent past, it instead provides a narrative of people creating an alternative history. In this model, identity-forming mechanisms can be observed that, in instances of shock and attempted violence, themselves become a source of violence and frustration.