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Amadeus
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Amadeus

Do you think you have talent? Would you like to have it? Or perhaps you envy somebody else's talent? What is talent anyway? Divine inspiration, an innate predisposition or an acquired skill?

Who has the right to sanction it, and who can deny its existence? Talent is a suspicious, obscure and unclear concept. That is probably why it is so easy to dispose of it.

The story of Amadeus Mozart and Antoni Saliere was falsified. For the purposes of a well-cut but highly simplified narrative, their characters have become synonymous with talent and talentlessness. Who does not know the story of Amadeus' visionary mind and Antonio's determined attitude? Who has not come across the view that one of them was a golden child and the other was a clever cheat? What if we started the story differently, without unnecessary clichés and constantly repeated schemes?

In his latest production, Łukasz Gajdzis sees Mozart and Saliere not as fiercely fighting antagonists, but above all as two charismatic personalities. Both of them influence each other's work and their musical competence escapes easy assessments. The new reading of "Amadeus" becomes an excuse to undermine the existence of talent as a divine and absolute matter. It is also a story that exposes absurdity of the mechanisms governing the merciless market of talents, and provokes reflection on the borderline between the creator and the performer, the artist and the executor.

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