The rythm of the author’s family life is set by multiple ceremonies – weddings, funerals, communions. These meetings provoke the main character to discover traces of the forgotten past. Błażewicz tells this story in a pulsating, rap flow, which may evoke DorotaMasłowska’speculiar style, but it has its own individual touch nonetheless. Intheauthor’s language there are two discourses which intertwine with each other: the present of Polish middle class and postmemory inherited by the youngest generations. Difficult past is being told by the language of popculture. Thousands of references and interpretations obscure the truth, which is ready to be unveiled. But can we possibly discuss the one objective truth? This polyphonic monologue redefines national phantasms, attempts to find or to create a new identity; it also refers to the traps of modern illusions of stability.
“After the stage reading of this play I started to imagine surprisingly defined, but also conceivable theatrical form, I can hear a new tone and feela new emotion which could stem from a performance based on this text. […] The Narrator, who delves into family celebrations, observes herd mentality and behavior, with fascination rather than hatred. It’s an art of life, not death. Or, should I say, the storyteller intuitively looks for some kind of «first death» in his relatives’ past, in their own version of 20th-century history, while being a part of their mundane, well-organized life in present days”.
- Łukasz Drewniak, Dziesięć piosenek i Hator, Hator, Hator…