Tag Archives: Ambassadors of International Culture


Special Thanks to PAAA-Polish American Arts Association!

“They Don’t Pay? We Won’t Play!” GoFundMe Campaign

Help Ambassador Theater, the Italian Embassy, and the Italian Cultural Institute in premiering Dario Fo's play "They Don't Pay? We Won't Pay!" this March.  

Thank you for your friendship and support!

Celebration of Dario Fo Feb 26 – March 26, 2016

Celebrating Dario Fo's 90th Birthday with They Don't Pay? We Won't Pay! at Ambassador Theater in Washington DC from aticc on Vimeo.


The Italian Cultural Institute and the Ambassador Theater celebrate 90th Birthday of Dario Fo, ItalyinUSItalian satirist, playwright, director, actor and composer, and Nobel Prize Winner with the following shows and events:

(Johan Padan a la Descoverta de le Americhe) By Dario Fo
Featuring Mario Pirovano 
Feb 26, 2016  MORE INFO to REGISTER will come soon! Do not call please! 
at the Embassy of Italy 


Italian actor, storyteller, translator and interpreter of Dario Fo’s monologues.

MON, FEB 29, 2016 at 7 PM at FLASHPOINT, 916 G St., NW, Washington DC


They Don’t Pay? We Won’t Pay!  TheyDon'tPayphotos
By Dario Fo
Translated by Jon Laskin and Michael Aquilante
Produced By Hanna Bondarewska
Directed by Joe Martin
March 3-March 26, 2016
at FLASHPOINT, 916 G Street, NW, Washington DC 

JOIN OUR CIRCLE OF SUPPORTERS: https://www.gofundme.com/y8c72qp8


Dario Fo Dario Fo, an Italian actor-author, can claim to be the most frequently performed living playwright in the world. Born on Lake Maggiore in northern Italy in 1926, he made his debut in theatre in 1952 and is still writing and performing. His work has gone through various phases, always in company with his actress wife Franca Rame. His stage career began with political cabaret, moved on to one-act farces, and then to satirical comedies in his so-called ‘bourgeois phase’ in the early 1960s when he became a celebrated figure on TV and in Italy’s major theatres. In 1968, he broke with conventional theatre to set up a co operative dedicated to producing politically committed work in what were then known as ‘alternative venues’. His best known work, including Accidental Death of an Anarchist, Mistero Buffo and Trumpets and Raspberries, dates from this period. He was awarded the Nobel Prize for Literature in 1997, and in the official citation the Swedish Royal Academy stated that he had ‘emulated the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden.’


Mario Pirovano has been working closely with Dario Fo and Franca Rame from 1983 to 2013.    Dario Fo and Mario Pirovano

Actor in one man shows ‘Mistero Buffo’, ‘Johan Padan a la Descoverta de le Americhe’, ‘Lu Santo Jullare Françesco’, ‘Vorrei morire anche stasera se dovessi sapere che non è servitor a niente’, and ‘Ruzzante’ by Dario Fo ‘Le Jeu de obin et Marion’ by Adam de la Halle, and ‘Il Papa cowboy: vita, avventure, battaglie di Papa Giulio II’ by Marco Ghelardi

Performances and Workshops from 2003 to 2013 Italy, France, England, Scotland, Ireland, Belgium, Spain, Portugal, Greece, Sweden, Norway, Australia, China, Palestine, Pakistan, Ethiopia, Kenya, Colombia, Venezuela, Argentina, Canada, United States of America.

Translations by Mario Pirovano
‘Johan Padan a la Descoverta de le Americhe’ By Dario Fo:
‘Johan Padan and the Discovery of America’, ed. Tipografica Perugia
‘Lu Santo Jullare Françesco’ by Dario Fo:
‘Francis the Holy Jester’, published by Beautiful Books, London
‘Ruzzante’ by Dario Fo: ‘The Wonderful Ruzante’ (unpublished)
‘Mistero Buffo’ by Dario Fo:
‘Comic Mistery play’ (unpublished)


Let us state clearly that this is not the lamentable history of the massacres committed by the conquerors on the Indios.                            
This is not the story of the usual losers. It is rather the epos of the victory of a population of Indios.                                
There are two fundamental types of chronicles of the discovery and conquest of America. On the one hand the stories written by the scribes following the conquerors. On the other, the tales of the coprotagonists who do not count, the “lastagonists”, from the dirty ranks, who come to tell their adventures having lived very close, even often right in the middle of the conquered, as prisoners…and even slaves!
Johan Padan is one of these unlucky adventurers, a gallows-bird of the fifteenth century, who has found himself right in the middle of thee discovery of America.
Johan Padan is a real figure, maybe his name is not exactly Johan Padan, but his actions are real: indeed they come from dozens of true stories told by the very men who lived them, the extras from the rank-and-file coming from all countries of Europe. All desperate people who do not count for anything in the official history of the discovery, but who arrived in the Indies, came in contact with the local people and found that they could count for something, or even a lot!
Johan Padan, a man from the mountains, does not like to sail but is compelled in spite of himself to make the great voyage. He is kidnapped by cannibals who fatten him up with the intention of eating him. He is saved by a stroke of luck and he becomes shaman, chief-wizard, doctor and is called “son of the rising sun”. He ha also compelled to teach the stories of the Gospels to thousands of Indios. Apocryphal Gospel of course.
The simple seamen, the ranks of little worth who switched sides with the conquered were many more than we used to think. And we must be clear: they did not content themselves with surviving, but they worked as strategists and military trainers so that the Indios could resist for a period of time against the invasion of the Christians.
We know the names of some of them, the best known are: Guerrero, Altavilla, Cabeza de Vaca. Hans Staden. 
But today we offer the extraordinary chance to know in person and from his own voice the tale of the most renowned of all the renegade foot soldiers: Johan Padan, ‘son of the rising sun’. “ Dario Fo


Desperate housewives take justice in their own hands in this Nobel prize winner's hilarious farce of civil disobedience. The empowering story in which direct democracy is the way to go when government fails to protect citizens' rights, was inspired by real life events of workers' uprising in 1974's Italy. Hugely popular and more relevant than ever, They don't pay? We won't pay! delivers a serious message in a ridiculous, absurdist fashion generating truckloads of laughter and delighting with its lovable and colorful characters.
Meet Antonia, who during a food riot takes supplies from a supermarket and hides them from her law abiding husband Giovanni behind a dress of her best friend Margherita. Follow the chaos, which ensues once Giovanni and his friend and Margherita's spouse Luigi are told about Margherita's miracle pregnancy and the police gets involved. Be prepared for this uproarious 'boulevard comedy' to keep you glued to your seat feeling entertained and inspired at the same time!

Though the piece has been called a “comedy of hunger,” it is also about the bigger financial farce that results if the victims of financial collapse—brought about by capitalism run-amok—are asked to pay for the disaster while the guilty parties are bailed out. This play by a master playwright and performer, is both physical comedy and a comedy of wit, sometimes in “boulevard” style. Fo has roots in Commedia dell’Arte, and the influence shows in this modern farce. In awarding him the Nobel Prize for Literature—there is no theatre category! —the Nobel committee remarked in 1997 that Dario Fo “emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden.” His plays have been translated into 30 languages and performed across the world, including in US, Argentina, Chile, England, the Netherlands, Poland, Romania, South Africa, South Korea, Spain, Sri Lanka, Sweden, and Yugoslavia.


Jon Laskin

Jon Laskin and Michael Aquilante are writers and theater translators who have co-translated several works of Nobel Prize-winning Italian playwright Dario Fo, including “Accidental Death of an Anarchist,” “The Devil with Boobs,” and his classic political farce “They Don’t Pay? We Won’t Pay!” Jon and Michael’s critically 

Michael Aquilante

acclaimed translations have been staged in many cities around the world, including New York, Los Angeles, Chicago, Anchorage, London, Dublin, Brisbane, Ottawa, and Toronto. “Anarchist” was honored with Toronto’s prestigious Dora Award, while “Boobs” received an L. A. Weekly Theater Award. 

Currently, the Laskin/Aquilante team is developing adapted translations of another Italian Nobel Prize winner, Luigi Pirandello: “The Truth About Truth,” set in today’s Washington, DC, is based on “It Is So If You Think So”; while “Willie the First” is Pirandello’s “Henry IV” in a modern Mafia context. In addition to Laskin/Aquilante’s theatrical endeavors, 2016 will see the publication of their graphic book, “Wings of Wax and Feathers,” an urban-savvy retelling of the Icarus myth.


Ambassador Theater presents DC Premiere of
Smartphones, A Pocket-Size Farce by Emilio Williams​
Directed by Joe Banno​
with Ariana Almajan, Tekle Ghebremeschel​, Moriah Elizabeth Whiteman​, Shravan Amin​ and Hanna Bondarewska​
At FLASHPOINT, 916 G Street, NW, Washington DC
OCT 20 – NOV 15, 2015
THU – SAT at 8 PM
SAT & SUN at 2 PM


The Open Theatre of Tadeusz Różewicz

The Open Theatre of Tadeusz Różewicz

By Daniel Gerould

  Although he has not written anything new for the theatre since The Trap (Pulapka, 1981), Tadeusz Różewicz remains the      most provocative and original Polish playwright of the post-war period. His probing of the boundaries traditionally assigned to  theatre has put him in the forefront of artistic innovators along with Kantor and Grotowski. Outstanding directors have sought to realize his work in production, despite inherent tensions between the author's radically experimental propositions and the nature of theatre itself.

With his first performed play, The Card Index ( Kartoteka, 1960), Różewicz (already a major poet) introduced a new theatrical language of fragmented structure and imagistic montage, which, at first, seemed disorienting but eventually came to be accepted as a quintessential expression of post-war sensibility. For the generation of Poles who came of age in 1939, the experience of wholesale death and destruction during the war and occupation had rendered obsolete notions of beauty, high ideals, and noble words. A new aesthetic, Różewicz felt, had to take Auschwitz as its basic premise.  Literature as it had existed until then was simply a lie. Repudiating ideologies, moral judgments and intellectual speculations as empty abstractions, the author of The Trap clung to the bare facts of human life as the only truths and the only values.

Of Polish playwrights since 1945, Różewicz has been the most restless experimenter with form. In a number of his works for the stage he undertakes an ontological analysis of theatre that questions the very assumptions that make performance possible. Recognizing that reality will not submit to the artistic conceptions of the past, the Polish poet strives to go beyond the limits of the genre. In rejecting hierarchical notions of high and low, foreground and background, beginning, middle and end, Różewicz essays a kind of drama that starts at point zero with an undifferentiated aleatory mass of sights and sounds and persists as pure duration.

Różewicz has repeatedly voiced the "desire to write a play that would be both truly realistic and at the same time poetic."  By rendering poetry realistic and realism poetic, the playwright has achieved his goal in many of his dramas. His work is realistic in the sense of being totally immersed  in existence  in  all  its  corporeality; the ordinary, the banal  and the bodily are the playwright's raw materials  which he refuses to imbue with any transcendental meaning. But Różewicz is an unorthodox "realism" unencumbered by illusionistic conventions. Externals, such as plot and cause­ and-effect sequentiality, are eliminated in favor of an interior drama that reveals life as it is experienced in the depths of stillness.

To paint a picture of everyday life in which nothing out of the ordinary hap­pens, the author of The Trap favors the simplest means: emptiness among events, silence between words, waiting. Action, the most basic element of drama in the traditionalist view, is considered by Różewicz to be the antithesis of realism and thus the negation of true theatre. "My plays have no endings," the Polish poet has declared. Rather than the temporal unfolding of a plot, he strives for the simple duration of a given situation. His aim is the creation of an "open theatre" without fixed perimeters where scenes can be re-ordered or added at will. Różewicz’s method of composition is a poetic counterpoint and collage of images producing a polyphonic form capable of accommodating a rich mixture of styles ranging from the colloquial and salacious to elegant parody and pastiche of fin-de-siècle fashions and literary traditions.

Questioning the separation of theory from practice, Różewicz has produced a new kind of script that is half treatise and polemic with his predecessors, in which extended stage directions serve as a commentary to interrupt the action and disintegrate the dramatic form. The lengthy stage directions are also arguments with all future directors with whom the play­wright may conceivably collaborate. His concept of "open theatre" involves the creation of works that can be completed only in the theatre when director, designer and performers confront the text-and one another.

For Różewicz, the struggle between a play and its realization on stage is the crowning moment of the whole theatrical process.  "What I like best in the theatre are the rehearsals," the playwright avows. "When the director fights with everything and everyone. The drama of the battle over the shape of the 'performance'." The texts that Różewicz produces are designed to heighten the conflict by resisting the efforts of theatre artists to dominate the author. "I've written my plays," the author explains, "so as to make difficulties for the directors who stage them, not to make their lives easy."

Różewicz has been fascinated with Kafka ever since he first visited Prague during the Stalin years when the Czech author was forbidden reading. Along with Chekhov and Beckett, Kafka serves as a model for Różewicz’s concept of inner drama and directly inspired two of the author's last dramas. The Hunger Artist, a highly personal adaptation of Kafka's tale, explores the creative process and the relation of artist to society.

Loosely based on the writer's diaries and letters, The Trap is an enigmatic work that "sets traps" for literal-minded critics, directors and audiences. Not one of the Czech author's literary works is ever mentioned (except the generic "Letter to His Father"), nor does the name Kafka once appear.  This is hardly the usual life of an artist in which titles and names are constantly dropped. We may ask: is The Trap a biographical play about Kafka? Różewicz himself denies that this is the case, insisting that his task as poet, after absorbing masses of facts about the Czech writer, was to depart as far as possible from the documentary material so that his own drama could come into being.

In fact, the Polish author is more concerned with Kafka's inmost fears than with the realia of his life, and except for a few fragments from the letters, Różewicz leaves his sources discreetly uncited. The Trap dramatizes anxieties and nightmares of the artist Franz as he himself experiences them in relation to his father, his family, his friend, and his fiancée. And despite his attempts to escape the many threats of confinement-existential, societal and historical-assailing him from all sides, the traps are too cunning for Franz. At first sight the highly fluid structures of time and space that Różewicz has created for The Trap make the play seem formless and meandering. The play, however, actually has a firm skeleton of recurring phrases, images and motifs. It is only superficially an "amorphous" play, Różewicz argues,"less like the crown of a tree than the underground roots intertwined and growing in all directions.  And therefore the length-in a temporal sense-of a scene on the stage does not always correspond to the length of the duration of that 'scene' or to the space that it occupies in the text."

The playwright uses Tableau XII, "At the Barber's", to illustrate the drama's temporal indeterminacy and elasticity. "The hidden magnitude of that scene is many times greater than what is shown taking place on the stage.  It is a scene that comprises the past and the future lurking in the present. … The roots are still hidden in the soil, in the darkness, of the future." The scene takes place in 1914 as war is declared on Serbia, and at the same time the Barber's assistant Vic abuses the Jewish Gentleman like a Nazi thug some twenty years later.

Structured as a series of tableaux, The Trap is a family photo album through which we can move backwards and forwards. The central image embodying all the play's dangers, the "trap" is as much biology as history. It is lurking everywhere-as the body in which Franz is imprisoned and as the camp (Auschwitz) to which his sisters will be sent. The "trap" is simultaneously present at all times, in all scenes, extending beyond Franz to the world at large. Throughout the play the Nazis are waiting behind the scenes-represented by the Black Wall. At the denouement of The Trap, what has until this point been the tragedy of a family, and of an individual victimized by the family, becomes the tragedy of the Jews. As the actors playing Kafka and his family take their bows, the Executioner-Guards come out from behind the Black Wall that opens at the back of the stage and brutally push the performers off to the trains leaving for the death camps. As the wall closes, only desperate fingers and palms of hands can be seen.

For Jerzy Jarocki, a frequent Różewicz collaborator who directed The Trap in 1992, the drama grows out of the confrontation between Kafka's apocalyptic forebodings and Różewicz’s own experiences of the war and the Holocaust. Significantly, it is not the sensitive Franz, but his blunt pragmatic Father who scents the coming of the Executioners and forecasts the Holocaust. Franz is too obsessed with the inner concentration camp of creativity to which his art has condemned him to have direct knowledge of the approaching Nazis. Whenever the Executioner-Guards appear, he is in a state of dreaming. Literature, which is Franz's fate, proves perilous to his life.

Built on a poetics of heterogeneity, The Trap consists of realistic dialogue, long multi-layered conversations, remembrances, quotations, descriptions, visions, dreams and events taking place outside Franz's consciousness as well as scenes occurring in his presence but not perceived by him. Recurrence and transformation are devices that bind the diverse layers into a whole. Felice's teeth, ready to devour the artist, become the gold crowns of the corpses at the extermination camp Majdanek. The huge wardrobe that for Franz seems a tombstone appears to his Father as a means of salvation in which the family can hide from its persecutors. Father and son pairs occur in different modalities. Despite (or perhaps because of) the writer's instructions to bum his works, Max becomes Franz's "wardrobe" that will preserve his "children" from destruction. Franz's supposed son by Grete is a monster (as he has been for his Father), the revenge of nature on the artist for giving himself exclusively to the creative imagination.

The entire drama is punctuated by the presence of Franz's Animula, or little soul, a childhood double, who, Różewicz tells us in one of his permissive stage directions, may appear at any point throughout the performance . The playwright has written several such appearances into the text, as, for ex­ample, in Tableau Ill where Animula watches Franz's dream of his Father's enactment of Abraham's sacrifice of Isaac, and in Tableau XV where the "little soul" is a silent witness to the deportations through the Black Wall. Never does Animula identify with any of the characters or actions, remaining on stage alone after everyone has gone and leaving the theatre with the last spectator. If the Executioner-Guards take us ahead into a historical future, Animula always brings us back to a timeless past of childhood and its open­ eyed perceptions of adult horrors-noncommittal, non-judgmental, non­ comprehending.

Różewicz is only one of many late twentieth-century playwrights who have found in the Czech author's life and work inspiration for their own dramas, but The Trap may well be the most penetrating treatment of Kafka's psychic dilemma. It is curious to note to what extent Różewicz's intensely personal, Polish viewpoint anticipates that of the British writer Alan Bennett, who analyzes Kafka's predicament in almost identical terms, al­though his own plays on the subject are radically dissimilar.

In his "Author's Note" of 1987 to Two Kafka Plays (Kafka's Dick and The Insurance Man), Bennett views Kafka as a prey to traps both biological and historical. "Death took no chances with Kafka and laid three traps for his life," Bennett writes. "Parched and voiceless from TB of the larynx, he was forty, the victim, as he himself said, of a conspiracy by his own body.  But had his lungs not ganged up on him there was a second trap, twenty years down  the line when the agents of death would have shunted him, as they did his three sisters, into the gas chambers. That fate, though it was not to be his, is evident in his last photograph. It is a face that prefigures the concentration camp."

The third trap that might have caught Kafka (but never did) is the consequence of Bennett's playful imagining that the Czech writer first avoids TB and then escapes the Nazis by fleeing to America in 1938, only to die of asbestos poisoning which he had contracted in 1917 while managing his brother-in-law's factory. Although Bennett uses the same "trap" metaphor as Różewicz, it is unlikely that the British playwright could have known the Polish drama. And whereas Bennett has written "exterior" drama of a satirical nature about the reception, perception and consumption of Kafka as a cultural artifact in present-day Britain, Różewicz has placed Franz's ambiguous inner drama as son and artist in the context of the tragic historical catastrophe that engulfed his family, his culture, and his civilization.

The ultimate "trap" for Różewicz is Kafka himself, who, the Polish playwright avers, is a "black hole" in the European literary firmament capable of swallowing whatever is attracted to it. In The Trap Franz maintains that "Silence contains everything and is more important and vaster than speech and sound." For Różewicz , theatre has great possibilities; there is nothing it can­ not encompass. But speaking about silence has become such an impossible task that it has kept him from writing for the stage since 1981.

In 1991-ten years after the play was first published- Różewicz added a prologue to The Trap in the form of a poem, "Interrupted Conversation", which is an interior monologue by Franz during the last months or days of his life in a sanatorium near Vienna. Unable to speak, the dying writer communicates with the outside world on scraps of paper. His thoughts are dis­connected but return persistently to his obsessions: the various women in his life, his complexes, problems with his Father, reflections on war and death. According to the poet, the prologue offers a summation of the play, with stress on its twin themes of suffering and silence. It is Różewicz’s farewell to Kafka.

The Trap

 Ambassador Theater presents the US Premiere of


…Anxieties and nightmares of Franz Kafka…

By Tadeusz Różewicz

Translated by Adam Czerniawski

May 28 – June 21, 2015

XX Bldg. of the George Washington University

814 20 Street, NW, Washington DC






ON STAGE- The Trap

The Trap

In Partnership with the Embassy of the Republic of Poland, Polish Cultural Institute in New York and Department of Theater & Dance at the George Washington University

Ambassador Theater presents US Premiere of

The Trap

…Anxities and nightmares of an artist, Franz Kafka…

 by Tadeusz Różewicz  

 Translated by Adam Czerniawski

With Music by Jerzy Satanowski

…the most provocative and original playwright of the post-war period….enigmatic works that "sets up traps" for literal-minded critics, directors and audiences… 

Produced and Directed by Hanna Bondarewska

Assistant Director Shawn W. Lyles

Set Design by Carl Gudenius

Multimedia Design by Riki Kim

Lighting Design by Michael Stepowany

Sound Design by Paul Oehlers 

Costumes by Sigridur Johannesdottir

Stage Manager  Yijin (Vanessa) Liu


Matthew PayneColin DaviesBenjamin KoonzMorganne Davies *, Alexander RolinskiAriana AlmajanMelissa RobinsonMadeline BurrowsEmily GilsonAbigail RoppJohn Brennan, Peter Orvetti, Marlove Vilchez, Ed Klein, and Tiffany Pindell

 *Member of Actors Equity Association

May 28 – June 21, 2015

XX Bldg of the George Washington University, 814 20th Street, NW, Washington DC 

Get your Tickets Online today!




rozewiczTadeusz Różewicz

The Polish poet, playwright, screenwriter, novelist, satirist and translator of Hungarian poetry. One of the most versatile and creative continuators of the Polish and international avant – garde. Member of the Polish Writers' Association. Often mentioned as a candidate for the Nobel Prize. Tadeusz Różewicz died on April 24, 2014.

Tadeusz Różewicz was born September 9, 1921 in Radomsko. His father, WÅ‚adysÅ‚aw, was a junior court clerk and his mother Stefania Maria, of the house Gelbard, was a housewife. Tadeusz had two brothers, the elder Janusz and the younger StanisÅ‚aw. Although Różewicz received an equivalent of GCSE in the Felix Fabiani school, his further education was stopped by the outbreak of World War II.

The War, the Forest and the Pen

In 1939 Różewicz began working as an errand-boy, a warehouseman, and apprentice carpenter in the Bent-wood Furniture Factory – Thonet to help support his family. It was at this time that Janusz Różewicz, the first literary mentor to his brother, introduced him to the Polish literary underground. After a six-month training in an underground Officer Cadet School, Tadeusz was sworn into the Home Army (codename “Satyr”) to fight as part of the guerrilla troops from June 26, 1943 to November 3, 1944.

During this time he wrote poems and edited the newspaper Czyn Zbrojny (Armed Action). He published the tome Forest Echoes, which contained poems, epigrams, humoresques and patriotic, poetic prose together with Janusz in 1944. In these first pieces of Różewicz we can observe a passion for the works of  Juliusza SÅ‚owacki and Stefan Å»eromski, as well as a spiritual dilemma akin to his contemporaries such as Krzysztof Kamil BaczyÅ„ski and Tadeusz Gajcy, particularly as they relate to the circumstances of war.

In 1943 Janusz Różewicz wrote to his brother, “You'll write better than me, you'll be a better poet…” In July that year he was arrested by the Germans and was shot and executed on August 3, 1944.

Tadeusz revealed himself to the Liquidation Committee in 1945, received the Polish Army Medal in 1948 and the London Home Army Medal in 1974.

A New Shape of Poetry

Julian PrzyboÅ›, whom the poet had met in the editorial office of Odrodzenie (The Rebirth), brought Różewicz from CzÄ™stochowa, where he had passed his baccalaureate exams, to Kraków. Here Tadeusz began studying History of Art at the Jagiellonian University but never finished. He became involved with the neoavangardist Grupa Krakowska, whose members include Tadeusz Kantor,Jerzy Nowosielski, Kazimierz Mikulski, Andrzej Wróblewski and Andrzej Wajda.

Różewicz gave a new shape to poetry by rebuilding a sense of meaning in life after the tragedy of Auschwitz — a trauma after which, according to Theodor Adorno, nothing authentic could be created anymore. The author has been accused of nihilism and a vulnerability to Western influence (namely Eliot, Pound and Russell) for his expressionistic and catastrophic poetry style, but nevertheless his poetry books Niepokój (Anxiety) (1947) and Czerwona rÄ™kawiczka (The Red Glove) (1948) have been considered revolutionary. CzesÅ‚aw MiÅ‚osz responded to them in one of his tomes, Ocalenie (Salvation).

Różewicz fled to escape the communist regime 1950, the same year his friend Tadeusz Borowski went to Berlin. There he again became fascinated with the universality and the “greyness” of human existence in line with the philosophical ideology of Eyelash by Leopold Staff.

After a year in Hungary, Różewicz came back to Poland and settled in Gliwice with his wife WiesÅ‚awa. The couple had two sons, the elder Kamil in 1950 and the younger Jan in 1953. They lived in poverty away from the literary turmoil. In the book Czas, który idzie (Time to Come) he made ironic remarks about the superimposed order: “Communism will elevate people/ wash off the time of scorn,” as he came to know the bitter taste of the literary milieu's “battue.”

The political thaw after the death of Stalin and the events of 1956 opened Poland to the West. Fascinated by the works of the Paris avant-garde, particularly Beckett and Ionesco, he wrote the drama Kartoteka (The Card Index), his most revolutionary work and contribution to the theater of the absurd. More abstract, neobaroque and formist trials can be found in the poem Zielona róża(The Green Rose) and the tome Nic w pÅ‚aszczu Prospera (Nothing Dressed in Prospero's Cloak), parallel with MiÅ‚osz's That.

Różewicz's stylistic invention of file-like text compilation and editing, as observed in the textPrzygotowania wieczoru autorskiego (Preparations to an Authors Soiree), provoked PrzyboÅ› in 1967 to viciously attack Różewicz for “trashy, pop-art ideas.” In 1968 the poet moved to WrocÅ‚aw.

Różewicz’s works have been translated into 49 languages. In 2000 he received the Nike Litarary Award for Matka odchodzi (Mother Departs), a book of poetry containing the author's intimate confessions in the form of poems, notes from the Gliwice Journal and selections from the memoirs of his mother Stefania and his brother StanisÅ‚aw. The text documents are supplemented by family photographs and fragments of written correspondence, including Stefania Mria Różewicz’s  letter to Tadeusz from a time shortly before Christmas 1943.  A calendar page from 1957 notes on July 16, “Mom died today at 10:20 A.M.” In such moments words evidently reveal their imperfection, even those of a poet even as great as Różewicz.


Congeniality Effect

In his contemporary poetry the author expresses the unrests and embitterments of a generation defined by wartime. In line with his experiences in the Home Army, Różewicz shows a world of relative values with man objectified and dominated by biology or technology. The I-speaker in his poems is a disintegrated personality, devoid of self and lost in a world of collapsing form.

His poems reveal him as a skeptic defiant to the world order rather than one of despair.  Piotr Lachmann remarked that Różewicz’s poetry achieved a congeniality effect (as opposed to Brecht's alienation effect). Before Lachman's cameras Różewicz stated his “Discourse about the Void”:

…The Void rages. Completeness doesn't have to. The void has to make itself visible. The void in which biology struggles. The devil is also a void – its strength lies in the fact that you cannot grasp it, it doesn't have a form. And this void is growing. And what happens in it: the most complicated weaponry as yet unseen by any man. Biologically (…) Syphilis or cancer do not threaten or scare us as much as AIDS. Committees gather to recommend the use of condoms, which in turn are forbidden by the Holy Congregation. All this beguiles our life.

Różewicz saw the film during a multimedia evening prepared by Jolanta Lothe and Piotr Lachmann in the Videotheatre Poza in 2003. He read poems from his Szara strefa (The Grey Zone), trying to convince the audience, “I'm not a philosopher, I'm intuitive.” He dismissed congratulations on his acting skill by saying, “I wasted that talent.” Nevertheless, Różewicz demonstrated an excellent feel of the stage during a soiree in the National Theater in 1998:

…What is first? Writing? No. Reading is first. When you're my age, you begin to feel that what you read is equally important to what you write. Sometimes more important, more interesting. Poetic soirees should change. Whenever I listen to my poems read by somebody else, I get the urge to correct them. Or to read somebody else's. I recently came back to Demons by Dostoyevsky, maybe after forty years. There is a genial masterpiece of a description of a soiree. An old writer Karmazinov – whose character was inspired by Turgieniev – he cannot finish reading his “Merci, Merci” humoresque… He read, and read until the young people started teasing him. I was quite abashed by the whole description.

He started reading Staff's Mickiewicz but stopped after the first stanza because of someone's cellphone signal. “Please leave!” sounded the voices from the audience. “Who's to leave? Me? I won't go,” protested the poet. “Where's the fire brigade? Police? Security?”

“Where's good breeding?” came a question from the audience. The owner of the ringing phone finally left. “We had a nice break,” the poet didn't lose his composure. “So now, I will read my poem ‘Where evil comes from’…” At that moment the silence was interrupted by the sound of a camera shutter. The poet stopped reading again. The whole situation seemed straight out of The Scattered File.

Derisive Humility

His bitter account with the contemporary past, as it tries in vain to find itself in the chaos of contemporary life, is illustrated in his dramas. His debut play The Card Index (written in the years 1958-1959) is a pinnacle achievement in the cannon of post-war drama, opening an emergence of new staging possibilities in Poland and beyond.

The play was published under censorship in the Dialogue magazine (02/1960), and later along withThe Green Rose by the National Publishing Institute in 1961. The full uncensored version was only published by Integral Arts in WrocÅ‚aw 1972. The play first premiered in 1960 in the Dramatical Theater in Warsaw under the direction of Wanda Laskowska.

As Zbigniew Majchrowski remarked, The Card Index is contemporary to The Teutonic Knights in that it was written before man went to space, before the Second Council of Vatican, before the erection of the Berlin Wall and the career of the Beatles.

The strength of the play is the derisive humility the character feels towards himself, and Różewicz towards his character – wrote Jan BÅ‚oÅ„ski. The gibberish in which the author often drowns the action, has a method and aim – a refusal of tragism. Only mockery can save our clear-headedness  and thus our freedom… The author evokes an unclear but undefeated hope which he kept at the bottom of his heart. – [Tadeusz Różewicz The Card Index. The Scattered file, Kraków 1997]

The Card Index consists of two images: the internal emptiness of the Character and a flood of phenomenae, people and objects that flows through his room. No other play has changed the face of European drama to the degree that The Card Index has. Since it first premiered its formal novelty has never lost perspicuity, nor has the complicated, firmly Polish subject-matter hindered the play from entering stages abroad. There is nary a season when The Card Index is not published or staged somewhere in the world.

Różewicz's debut play became a classic of theatrical avant-garde, a vivid form of theatre that touches upon the crux contemporary problems. However Konrad Swinarski, who directed the play twice, in 1965 in Tel Aviv and two years later for the Television Theater (with Tadeusz Łomnicki as the Character), muses that it lacks a proper ending:

"If Różewicz only dared to write one more final scene," he said in 1973, “then The Card Indexwould be a contemporary play. It is written in a beautiful language, it has both literary culture and tradition, it's both sensual and political it has everything I value in a play, nevertheless it has no continuation."

The Chronic Forerunner

Tadeusz Różewicz in the lens of Janusz Drzewucki – Image Gallery

The Scattered File fulfills Swiniarski's demand and authors the idea of a “play written on stage.” Różewicz experimented to repeat the phenomenon of the Card Index in the free speech reality brought by the Third Republic.

Thus the Scattered File came about, a cycle of open rehearsals which the author directed and played with the actors from November 17 to December 2, 1992 on the camera stage of the Polish Theater in WrocÅ‚aw. Apart from minor changes in the text, most of it are extracts from newspapers, the sermons of Skarga or speeches by PiÅ‚sudski.

The actors brought newspaper articles. One Card Index text about beer grew to be seven. The construction of the play on stage mad its record a lot longer than the canonical version. However, none of the rehearsals of the Scattered File covered everything that was printed in the book.

It was a time of subversive topics such as the illegal trade of human organs, or the argument of the rabbis to give their seal of approval for kosher vodka produced in Polish distilleries. An entire poem is comprised of newspaper adverts. There's another, especially ironic, poem composed of fragments of parliamentary debates. Różewicz, a chronic forerunner, proved that with the disappearance of censorship a new habit came about – uncontrolled garrulity and verbosity. He had found the danger and mocked it in a pastiche of parliamentary debates dominated by empty routine and formalities.

The formal experiment of the Scattered File did not in any way disrupt the integrity and timelessness of the first version. The record of the play gives directors a whole new range of texts which can be scattered and used anew. In 1998 Kazimierz Kutz brilliantly brought the play to the Television Theatre with a highly suggestive vision of the Character, as played both by  Jerzy Trela and Krzysztof Globisz, entangled between past and present in the political and mental transformations.

The Wise Man in a Jester's Mask

No one smuggles tradition on stage as successfully and in such a novel way as Różewicz. Although his tradition has been unfairly neglected and ridiculed, the previous century does not know an instance of such an influential Polish writer.

The strength of the author's art lies in the ability to combine opposites. On one hand he uses a classical, sophisticated form, but implements it to deliver fresh and unconventional content. He also performs the same strategy in reverse: subjects from the past are often given innovative forms of expression, so that his creations are ambiguous, disturbing and universal at once.

His plays feature a duality of characters who come from the intelligent class (however, he also finds room for simple peasants, like WaluÅ› in Do piachu or Wrona in The Card Index). Personages whose noble duties (God, honour, fatherland) have been questioned in the post-yaltan reality and doomed to failure; futile, eternal rebellion; or giving up and opportunistically subjugating oneself to illusory comforts; these were all visible in the drama, “Witnesses or our little stabilization.”

Few can deal with the media as well as Różewicz. However, deeming his creations journalistic would be a gross simplification. As a clear-sighted observer and amateur of the press he subjugates the intake of news to artistic treatment. Under his penmanship they become metaphors for the fate of the contemporary man. In line with the romantic traditon Różewicz both disdains and admires, everyone can find a reflection of their own life in his characters as they are anchored in the specifics of history.

In the play He Left the House, forty-year old Ewa, anxious about her husband’s long absence, calls for the police. She and her daughter Gizela have difficulties giving a description: “Daddy was nondescript, not much like anything, like everyone.” Meanwhile the amnesia-stricken Henryk wanders around town, finally reaching a cemetery where he is witness to an excellent “Shakespearean” scene: two undertakers over a grave where lies “at one time a martyr, at another a knave.” Afterward he comes back home, merrily lacking the memory. However, his wife soon starts to “educate” him, filling his head with judgments and stereotypes. Henryk absorbs the cliches compliently, but later comes back to his senses to again leave the house.

Różewicz’s dramaturgy has a renewable value thanks to the irony infused in the obstacles of his plays. Year after year these works affirm his prophetic talent. In each rendition, his predictions regarding the destruction of the natural environment arouse as much emotion as they did in the premiere. The vision of trash falling through the cafe windows in A Woman Sits remains terrifying. Although we have made some progress since the play was written, the world is still heading towards self-annihilation – war continues, environmental issues continues to dominate the news.

On All Fours tells the story of an old infantile writer, who like the brilliant French painter Maurice Utrille, is happiest about his electric train. Laurent's fun is disturbed by the overprotective maid Pelasia and the swarm of intruders who want to bask in his glory. His office will soon be invaded by “The Girl” who presumably wants to write a dissertation. However, she doesn't spare any efforts to seduce him, quickly becoming his wife and heiress. The dead Laurenty will still be sipping Pelasias soup in his apartment – now turned into a museum — where the Widow shows the Profane around telling completely delusive stories.

Różewicz’s works often annoy, provoke, and occasionally incite outrage. The hyper-charged sexuality of the characters in his morally subversive and pioneering White Wedding tore apart the atmosphere of an old gentry manor, in which to girls became women. The erotic staffage – now really naive – provoked a critical outcry, among them party members such as Atrur Sandauer. Meanwhile the first post-war topless scene, with Barbara SuÅ‚kowska as Paulina under the direction of Tadeusz Minc, brought crowds of spectators to The Small Theater.

Do Piachu earned itself a bad reputation among the Home Army veterans. Różewicz describes guerrilla life, but without the patriotic highs, presenting what other often fail to mention: the mud, dirt, lice, blood, poor quality food, the disconnection from our close ones, the absence of women, the severe discipline. WaluÅ›, a village peasant who dreams of seeing Kraków and CzÄ™stochowa, comes back from a predatory excursion. His two superiors who took part in it have made off with the loot. The commanders focus their anger on the boy with animal treatment to which he uncertainly obeys. Różewicz’s anti-epic about anti-heroes, the absurdities of war and the dehumanization it causes, futile sacrifice in the name of a restrictive law, caring for thy neighbor, his pain, suffering and death, probes the boundaries of human debasement and sacrifice.

The outrage of the veteran milieu that broke out after the first two stagings of the play (by Tadeusz Łomnicki in the Warsaw Teatr Na Woli in 1979 and Kazimierz Kutza The Television Theater in 1991) caused the author to place limitations on access to his works. Of late, only Janusz Opryński and Witold Mazurkiewicz have succeeded of late, on behalf of from the Provisorium Theater and the Theater Company in Lublin, in 2003.

Neither scandal nor subversiveness alone necessitates greatness, as some worshipers of theatrical currents may assert; these qualities must be supported by artistic justification.

The contents of the play Trelemorele can be best summed up in the subtitle: “A soap opera for public and private television.” Różewicz blantantly undermines the language of the medium that in attempt to be endearing ultimately becomes jibberish mixed with a dose of kitsch and perversity. The family in front of the set consumes the medley of images that flow out of debilitating game shows, infantile commercials, imbecile series and unreliable news. A nervous walk among the channels doesn't change anything. Everywhere it is the same thing, equally nauseous and hopeless.

The timelessness of his plays, avant-garde in form and rebellious in content, is also not confirmed by the frequency in which these works are staged. Despite being a few decades old they retain a contemporary bite. With bitter irony they show the everyday life of the Warsaw intelligence, as seen by one of the most clear-sighted annalists of Polish reality in recent history.

His plays provoke imagination with a metaphorical, intelligent and often razor-sharp language. The longevity of those plays abroad indicates that his language resonates with an international audience.

Różewicz addresses the most serious matters in a fickly, roguish manner, a subversive, who like StaÅ„czyk, dons the jester's mask to shamelessly hit you in the face with the truth.

Author: Janusz R. Kowalczyk, July 2013.


Editor at Culture.pl since 2009, specializes in literature. Graduate of: theatre studies and film studies at the Jagiellonian University, a part-time screenwriting course at the National Film School in Łódź. Artist of the cabaret Piwnica pod Baranami (1978-1987), theatre critic for "Rzeczpospolita" (1990-2009). Awards: Zbigniew Raszewski Prize, a grant from the Ministry of Culture and National Heritage. Author of "WracajÄ…c do moich Baranów" (published by Trio, 2012), a book about the Piwnica pod Baranami cabaret, and more.





Ambassadors of International Culture

The District of Columbia is unique among American communities in its great concentration of embassies and international dignitaries. Despite only being a few miles away from these great resources, many students within and around the District of Columbia have little knowledge of the world outside their neighborhoods. Through the Ambassador of International Culture program, we hope to make these resources more accessible to urban students and enrich the students through interaction with persons of different cultures.

Under the program, the Center forms a close relationship with one of the District of Columbia’s many embassies, both to help tailor the interactive learning program to the selected culture, and to provide students with a hands-on opportunity to interact with persons from that culture. Working together, the Center and the embassies can create an environment that allows for students to gain a greater cultural understanding than through either resource alone.

For instance, as a result of 2007/2008 embassy adoption program with the Embassy of the Republic of Poland, the students in the program had the opportunity to travel to Poland to give a performance at the Presidential Palace in Warsaw at the special invitation of the First Lady of Poland, Mrs. Maria Kaczyńska. This program gave the students an opportunity to exchange ideas, not only amongst themselves and with instructors, but also with persons who are members of the culture that the students were studying at a given time, and provided for further cultural enrichment of the students by immersion in Polish culture through the duration of the trip.

Interactive Learning Method of Teaching

Each year, we will explore a different international culture. The Center will promote the culture and help the students learn through two interconnected programs – the Interactive Learning Method and the Embassy Adoption program. The scope of the interactive learning is not limited to theater and drama.
We will provide a special educational program of interactive learning that is specially designed to help teachers and students better comprehend cultural artistic compositions and find the joy in discovering new customs through art, music, dance, song, crafts, cooking, theater games, and performance.

The Center is devoted to working with young students to increase their social skills, reading comprehension, movement, and speaking skills. In addition, we also incorporate more traditional teaching techniques, such as lectures, reading, and demonstrations.


Ambassador Theater Studio Classes

Ambassador Theater offers studio classes exploring international literature and drama through movement,voice and  improvisation. Through Ambassador Theater’s unique international cultural exchange, the students have the opportunities to experience Art and Drama in both enriching and innovative ways, sure to inspire both individual and collaborative growth in years beyond.  Classes, taught by highly experienced professionals from all over the world, are available for three age groups: Globetrotters (4-6 years old), Voyagers (7-9 years old), and Explorers (10 and up).  

Ambassadors of International Culture Outreach Programs

Ambassadors of International Culture is an interactive educational program, which exposes students to a variety of cultures through theater. The Ambassador Theater brings resources from local embassies to help provide students with enrichment activities, allowing them to become well-educated global citizens and interact with international leaders of today.  Showcased in their artwork, theater games and performance, this program connects to the students’ studies in school, improving their overall academic performance, reading and comprehension skills, and concentration and memorization ability.

Summer Theater Production Camps

Ambassador Theater offers two different summer camps, both of which use international literature as a platform for artistic creation and performance.  Both camps provide a well-rounded production experience from a multicultural standpoint, ending with a showcase. Through both individual work and teamwork the students will open their minds to endless possibilities.  Professional instructors guide them through scene work, theater games, and activities in projection and movement. Children ages 4-13 will enjoy a two week camp at the George Washington Masonic Memorial Theater in Alexandria, Virginia, and teens ages 12 and up a will experience mounting a three week full scale production at the Source Theater, in Washington, DC.

Special Workshops and Educational Lectures:

  • Play-reading Workshops: Ambassador Theater’s play-reading workshops offer the opportunity to discover plays from all over the world and tap into the various cultures within them.  Through these readings, participants get the chance to collaborate with esteemed designers, directors, playwrights, and actors from all over the world and discuss the plays on a deep, thought-provoking level.
  • Workshops with International Guest Artists: Ambassador Theater’s Guest artist workshops offer exciting openings into the world of artists and scholars from all over the globe. Experts in their fields, the topics of these workshops range, including a variety of different styles in acting, play-writing, directing, and production. Using lectures and question and answer settings, participants will learn the specific style of the speaker and relate that knowledge into their own work and beyond.

Internship Program

Ambassador Theater International Cultural Center is offering special internship programs for talented students to provide the students opportunities to learn more about the workings of the theater in many areas:

  • Production and House Management
  • Technical Support in the Set Construction, Costumes, Props, Lights and Stage Managment
  • Marketing and Development
  • Acting Internships


Are you ready to Dance – Join the Group of Zharava June 14th in Old Town Alexandria


3:00 PM TORPEDO ARTS CENTER, 105 N Union Street, Alexandria VA

4:30 PM Market Street, in front of the City Hall, Alexandria VA


The Bulgarian folk-dance ensemble Zharava was established in January, 2007. Within its first six months, the group gathered more than 20 enthusiastic members, including natives of Bulgaria, Russia and the U.S. The fire in each member’s heart is implied by the group’s name: Zharava – 'burning embers.'

Zharava's mission is to preserve the rich Bulgarian folk-dance tradition, and to enhance the awareness of Bulgarian folk arts (including dance, music, song and rhythm) throughout the U.S. and the world. The Artistic Director of Zharava is a longtime professional folk dance instructor and choreographer, Desi Jordanoff. The organization aims to advance its mission through performance and participation in dance and music festivals, through delivering training and workshops, through organizing student performances, and through holding recreational dance events. With all these activities, Zharava tries to educate people and create community through the experience of Bulgarian folklore. Zharava workshops include selections from the rich dance styles belonging to all ethnographically defined regions of Bulgaria.

Today, Zharava already has gathered 85 members and continues to attract more new students. 55 members are actively participating in the ensemble’s training classes and their number grows consistently. All current members are organized in three tiers: beginners, intermediate and advanced (performing group). All three groups have been exposed to different levels of difficulty and follow three specific tracks of training to learn the particular dance styles, techniques, and rhythms of individual ethnographic regions of Bulgaria. Zharava’s advanced group consists of a strong core of dancers, who have advanced through vigorous training during the past seven years. These core dancers form the ensembles performing group, which demonstrates the color, rhythm and dance mastery to the community. Part of Zharava’s training incorporates traditional dances from all ethnographic regions of Bulgaria. The curriculum also includes studying authentic folk traditions brought from villages in Bulgaria and workshops in costume design.

During its seven years of existence, Zharava has demonstrated an increasing level of acquired knowledge and skill. It has also garnered great support in the arts and national communities in greater metropolitan Washington, DC. The group delivered more than fifty concerts and presentations at various venues spanning from community, school celebrations and festivals through events and initiatives, the greater Washington, DC metropolitan area, Maryland and Northern Virginia. In addition, the group has participated in multiple presentations on behalf of organizations, such as the Maryland Council for the Arts, Annual Celebration of Cultures held by the World Bank Group; celebrations held by the Bulgarian Community Center and the Bulgarian Music Society of greater Washington, DC; Washington Folklore Society; Ambassador Theater, Washington Revels, and events organized by the Embassy of Bulgaria to name a few.

One of Zharava’s accomplishments is a successful pilot project to establish and develop an affiliate group at the University of Richmond. Founded in the fall of 2007, the dance group in Richmond attracted more than 30 members, including Bulgarian and international students, who continue to express their passion and love for Bulgarian folk dance. As a result of this collaboration today the group in Richmond gathers weekly to further explore the rich Bulgarian folklore dance. One of the most fruitful and successful collaborations Zharava has fostered with the singing group Zunitza founded as an exciting spin off from the dance group members in  Richmond. Today Zharava and Zunitza collaborate on many joint projects and perform together at many venues in Washington, DC metropolitan area.

For seven years ensemble Zharava has developed and fostered solid working relationships with many organizations such as Bulgarian Folk Orchestra “Ljuti Chushki’, Folklore singing groups “Orfeja”, “Slaveja”, “Svitania”, Bulgarian Educational and Cultural Center in Washington, DC, National Catherdral School and individual artists, musicians and singers. In 2007, Zharava’s Artistic Director, Desi Jordanoff created a successful children project at the Bulgarian Educational Center and founded the children dance group Zdravetz. Today, with more than 25 members the group has grown to accommodate a second tier of children attending the Bulgarian Educational Center. Bulgarian Folk Dance group Zdravetz has participated in concerts and presentations with Zharava dance Ensemble at multiple venues such as the Ambassador Theater, The American University, St. Nicholas Church Festival and others.




Watch the Ambassador Theater's Retrospective created by George Gordon

The event highlighted Ambassador Theater’s mission to build international cultural awareness, provide a high standard of international repertoire based on close relations with the diplomatic and cultural representatives of different countries in the United States, and provide interactive educational programs for the youth of the District of Columbia, DC Metro area, and around the United States.

Team of the Ambassador Theater thanks all its artists, memeber, friends and supporters for their continuous support! 


Exciting classes start on Wednesdays May 8, 2013


Ambassador Theater offers studio classes exploring international literature and drama through movement, voice and improvisation. Through Ambassador Theater’s unique international cultural exchange the students have the opportunity to experience Art and Drama in enriching and innovative ways, inspiring both individual and collaborative growth. Classes are taught by highly experienced professionals from all over the world: Award-winning director Ms. Lilia Slavova and well recognized art instructor, Ms. Deborah Pawlik. The classes are available for three age groups: Globetrotters (4-6 years old), Voyagers (7-9 years old), and Explorers (10 and up).
Register and Pay On-Line Through INSTANT SEATS

“A new experience where imagination and education come together.”


At the Convergence Lab Theater in Alexandria VA

Join Ambassador Theater in discovering the beauty of children's international literature and culture, explore nursery rhymes, songs, fables and walk through the adventures of many famous characters from the most admired stories.
The classes are taught by a professional,  acting coaches and artists, whose main focus will be movement, speech and basic acting skills with fun theater games and will finish with a final showcase at the Convergence, THE LAB Theater, 1819 N. Quaker Lane (at Crestwood Drive), Alexandria VA 22302
We also offer exciting Art Classes that help the kids connect with what they learn about in their drama classes. They are able to understand how theater is a true collaboration of all art forms and will focus on making some props, parts of the costumes they will use in their performance, learn about the genre and style used in the play and culture they are studying, and more.

 Wednesdays, May 8 – June 12, 2013


BOTH ART AND DRAMA CLASSES are offered one day a week, on Wednesdays:
45 minute DRAMA CLASS: $140
60 minute DRAMA CLASS:  $160
90 minute DRAMA CLASS: $240
45 minute ART CLASS: $160
60 minute ART CLASS: $180

PACKAGE SPECIAL: Combo of both Art and Drama Classes
90 minute CLASSES (45 min each of ART and DRAMA): $300 for GLOBETROTTERS
2 hour CLASSES (60 min ART and 60 min DRAMA): $320 for VOYAGERS
2.5 hour CLASSES (60 minute ART and 90 min DRAMA): $400 for EXPLORERS

(To Register for Combo classes scroll down under Drama Classes and choose that option, in the message specify which day you want the child to be registered for)

ART:                                                                              DRAMA:


  • 4:15 – 5:00 PM: Globetrotters (4-6 years)         5:00 – 5:45 PM: Globetrotters (4-6 years)
  • 5:00 – 6:00 PM: Voyagers  (7-9 years)                6:00 – 7:00 PM: Voyagers  (7-9 years)
  • 6:00 – 7:00 PM Explorers  (10 and up)               7:00 – 8:30 PM: Explorers (10 and up)

Contact us with any questions using our online  form or email us at info@aticc.org. You may pay by check written to Ambassador Theater and send it to: Ambassador Theater, 916 G Street, NW. Washington DC 20001

You may also Register and Pay On-Line