Legnica is a town characterised by cracks. Out of the cracks our theatre builds its tale of the town. For most of its history Legnica had been a German town - but in 1945 it was taken over by the Soviet Red Army. And Legnica was turned into the Army`s stronghold, a garrison town and a seat of the Soviet General Staff for the Eastern Europe. It was here, at the local airport, that the Soviet bombers were meant to have a refueling stop on their way to Paris in the case of the outbreak of World War III... As a result of 1945’s Yalta conference Legnica was given to Poland. In co-operation as well as in conflict with the Russians, the Poles began to build the identity of the town - an identity full of cracks and one never too easy to bear.

 

The theatre stage and audience

The theater building in Legnica was built between 1841-1842, designed by Carl Ferdinand Langhans, who also designed theatres in Wroclaw, Szczecin and Leipzig. The general shape and details of the monumental building refer to the form of Renaissance Strozzi Palace in Florence. At the same time we can see influences of the nineteenth-century French architecture, postulating that the external form of the building should inform about its function. The interior is formed on a rectangular plan, with a horseshoe-shaped auditorium, which housed a large number of spectators in a relatively small space (ground floor and two balconies) - before the war it was more than 500 people (including standing rooms), today it is 260 viewers. The original arrangement of the audience and its classicistic ornaments have been preserved. There is also pre-war equipment: two mechanical trapdoors, storm drains, revolving stage etc. In 2008, the building underwent thorough renovation, both from outside and inside.

 

Stage in the New World Street

Stage in the New World Street is a former theater hall, which is located in a hundred years old building. It is part of the property, which once housed the restaurant for Nazi officials, then the seat of Social and Cultural Association of Jews (with a thriving amateur theater), Communist Provincial Community Centre and illegal flea market of pirated video cassettes in the early years of political transformation. The ruined stage was the place where many performances were played: Hamlet directed by Jacek Glomb and Krzysztof Kopka (2001), Zone (inspired by Andrei Tarkovsky’s Stalker) directed by Lech Raczak (2004), Otello (2006) and Lovers from Verona (2011) directed by Jacek Glomb.