The theatrical group "Teatr Cinema" was founded in 1992.
From the very beginning of its existence it has created author's performances, which are – intentionally - the response to the products of the mass culture. The core of the group consists of four professional actors working exclusively for the Cinema. As far as performances of greater scale are concerned, artists of other Polish theatrical groups are invited to participate in the project. The artistic image of the activities of the group depends on its leader Zbyszek Szumski. He is a director, set designer, as well as the author of all the scenarios.
When preparing a spectacle the actors use improvisation and association of ideas. Most often their propositions are the answers to the graphic works of Zbyszek Szumski, which constitute the first version of the scenario. The scenic movement, which organizes the acting of the performers, as well as the painted flats of the scenery, unites the author’s intentions and the creative inspirations of the actors.
The actors call their performances "a revolt of imagination against the routine reality". Theatrical critique perceives the artistic activities of the Cinema as discovering and elaborating of new visual values of the language of the theatre.
The style of the Cinema, based on an absurd sense of humour and surrealism akin to the best European schools, has formed a unique poetic of the Cinema performances. The scenic hero, equally characteristic and recognizable as the poetic of the Cinema is, with the sight hidden in the shadow of his bowler. This tragic hero, but at the same time a comic one, becomes an expression of human condition oscillating between vibrating ordinariness and absurd.
Repertoire of the Cinema Theatre constitutes a wide range of propositions.
The first spectacle " Dong" (the only performance, which makes use of the writing of other author than Zbigniew Szumski, is inspired by the writing of Edward Lear) is, as it were, an expression of the style of the Theatre. The spectacle consists if consecutive vivid pictures, which are, like wholes of fiction. The ascetic acting of the performers is integrated with perfect operating of the props. The atmosphere of absurd humour characterizes the lot.
The spectacle "Nie mówię tu o miłości”"("I am not talking about love here") is written for four simultaneously plying actors. The parallel acting of the protagonists unites different texts and scenic movements describing human conditions, unfulfilled dreams and constant desires. Thanks to suggestive and ascetic acting of the performers the spectacle can be easily read at the visual as well as literary level.
The spectacle "Bilard" is constructed on the basis of rhythms. Intensive activities of the heroes are contrabalanced by smothered movements. The story of human ridicule, of alienation and willingness of existence in a group is "inscribed" in the performance. The starting point of the scenic picture is enclosed space of a ballroom transformed into a playground.
The spectacle "Tak. To. Tu." ("Yes. It is. Here") presents various activities of people enclosed in their own worlds and empty rooms. The activities, which unite them, are far from the pulse of life. Calm rhythm of the spectacle is broken by dynamic changes of moods.