Talk with theatre artist and activist Marek Kurkiewicz following the performance of Putin is Skiing in Dzierzgoń
Post-performance talk with Marek Kurkiewicz and Polish audience
Video of the talk
Marek Kurkiewicz – Founder and director of Teatr 3.5 in Dzierzgoń, cultural and social activist
An informal Czech-Polish discussion took place after the performance. The debate combined the perspectives of independent theatre artists, analytical and political insights from moderator Marek Kurkiewicz, and socio-historical reflections from Polish participants.
The Production Putin’s Skiing
Representatives of Theatre Líšeň (Divadlo Líšeň) introduced the 17-year history of the production Putin’s Skiing, which was created based on the writings of the murdered Russian journalist Anna Politkovskaya. A noticeable shift occurred in audience reactions over time: while the play initially met with misunderstanding and detachment in the Czech Republic, public reception transformed after the annexation of Crimea in 2014, and with the full-scale invasion of Ukraine in 2022, it became a direct reflection of reality.
The Theatre Líšeň team explained their creative approach and working methods—the ensemble has no permanent venue and instead tours festivals and cultural centres, performing both in the Czech Republic and abroad. The military tent in which Putin’s Skiing is performed is an integral part of the show’s artistic concept. The uncomfortable, cramped, and intense space of the tent, accommodating up to 100 viewers, serves as an intentional set design element that erases the distance between actors and the audience, simulating an atmosphere of pressure and oppression.
Russian Power Structure and Collective Mentality
A significant portion of the debate was dedicated to reflections on the Russian regime and its population. In their contributions, the Polish audience members applied a largely collective perspective to Russian society. They do not view Russian inaction or support for the regime as a mere temporary surrender to manipulation, but as the result of a deeply rooted historical mentality.
They trace the authoritarian system back through a long historical arc—from the legacy of the Golden Horde, through Tsarist autocracy and the Soviet era, to today’s KGB/FSB structures. In this environment, the population has been raised for generations to be obedient, to fear authority, and to feel that the individual has no value. The discussion also addressed the informal inner workings of security forces, which operate on principles of extortion and the absolute subordination of lower ranks to higher ones.
Moderator Marek Kurkiewicz expanded this into an analytical view on the nature of authoritarian power. He emphasized that the Russian regime operates through sophisticated security structures. According to him, an authoritarian ruler behaves like a tyrant—retreating only in the face of real force and immediately exploiting any attempt at compromise or perceived weakness from the West to exert further pressure. There was also criticism of long-standing Western naivety, which turned a blind eye to warning signs—such as the war in Chechnya or the murders of opposition critics—in exchange for cheap energy resources.
Disinformation, Exploitation of History, and the Volhynia Issue
The Polish speakers discussed the current state of public opinion in Poland and the impacts of hybrid warfare in detail. They contrasted the immediate wave of solidarity toward Ukrainian refugees in 2022 with the gradually emerging fatigue, economic tension, and rise in anti-Ukrainian rhetoric.
The issue of the Volhynian massacre entered the debate as a specific example of exploited historical trauma. The Polish participants stressed that they view the historical grievance as real. Today, however, it is actively brought up by pro-Russian disinformation channels and troll networks on social media. The goal of these manipulations is to instill a sense of grievance in Poles and weaken their willingness to help Ukraine by asking why they should support a nation that has not come to terms with its own history. At the same time, it was noted that average Ukrainians—especially those from eastern regions—have very little knowledge about the events in Volhynia, which further deepens mutual misunderstandings.
Participants also pointed out that Russian intelligence services often operate abroad indirectly, using local actors, corrupt networks, or social media to incite targeted provocations and confusion.
The Role of Culture in Times of Crisis
In closing, the discussion returned to the purpose of political and socially engaged art. According to the participants, theatre should not deliver political lectures or give in to superficial emotions. Its role is to facilitate direct human connection, shake society out of indifference, resist cynicism, and foster critical thinking at a time when public debate is under constant pressure from manipulation.
