NW: You inagurated the Nowy Theatre in Warsaw with a performance of Apollonia. Why did you chose this Greek tragedy combined with a documentary by Hanna Krall? It's quite surprising to see the characters of a modern journalist on the same stage as Hercules or Ifigenia.

KW: The play that inagurates a new theatre needs to be essential. Why I started thinking about this play, I thought that buying out the MPO garage for our theatre would not be very complicated and would be over with fairly quickly, especially since the government of the city had proposed that we put our theatre there. I therefore planned the play in that place. And I thought that I didn't want to invite audiences to come see yet another complex story with many twists and turns in its' structure. I felt that the pre-war garage was kind of like ground zero. For me, because that was where the new theatre would have its' beginning, but also for the rest of us. I thought that I would invite audiences to discuss matters that should have been discussed following 1945, but which were, as we all know, not discussed. NW: Why make a play in 2009 that should have been made in 1945? KW: Pretty much everything that is happening to us today began in 1945. There are still many matters that have