Theatre is our kingdom. Theatre is inside us. We are fools, fools of reality, since more or less consciously we create our own image for the world, people, and for ourselves. We play roles which often take control over us and finally we don’t know who we are and why we are here. In that case we need a place and time for spirit and physical transition. This place is a ritual of word, movement, body, space, light, another person’s warmth, its confused look, fear and uncertainty. This is also a ritual of remembering and forgetting, fighting and submitting, searching and giving oneself to the God. The ritual of space and time.

The ritual of personal relations while creating, working and getting the truth, what means not telling the true but discovering it. Theatre is a place, where we “speak” here and now and it is also time of discovering that truth, which is expressed through “lies”; whatever this truth might be: hard, dirty, obscure, evil but at the same time right and warm. Human truth, connected with its existence, with his deepest, often hidden parts of soul. To the pain, to the death. It is also a place of throwing one’s mask imposed by deeply rooted fools’ habits, the place of replacing spoiled blood – the place of purification.

Is it worth doing theatre for those reasons? Isn’t there any other way as only shout emotions in an eruption of releasing tensions, which are squeezed in a throat and a stomach to the extremes? There is such a possibility and an opportunity for people and for theatre. If our cultural (west) rationalization doesn’t go to far, there is the opportunity that it will moralize and tell us only “interesting” stories. That will happen only when and we remember about mystery and metaphysics.

The transition of a fool into a king is the mystery and metaphysics in the “Kingdom.” Isn’t the King an unaware fool, and the Fool an aware king? Only the fool can make transition in ritual of space and time, discovering that there could be nothing under the following perfect masks, embodiments and doubles. Chances should be searched in foolery and in his mysterious fight. It is only the fool, who can keep balance towards the another fool, power, money, sex, existence and God. Only then will his kingdom be absolutely opened, without any limitations, without the cultural and traditional enslavement. It will be a tolerant kingdom, which accepts different languages and various ways of expressing them.

Opinion about „Kingdom” after Odeon 2007 – all-polish open festival of amateurs theatres in Andrychów:

Jarosław Skupień (Youth House of Culture, Andrychów)
- Theatre of the One Poem has let us feel climates like from “Twin Peaks” by David Lynch, excellent play of lights,(…), visions of gloomies nooks of our tight cages of mind, incessants tries to spring up of human in consciousness of the others (…) and everything enriched by fantastic background music. It wasn’t accidental theatre, each detail of stage design, theatrical glissando in which an action has slightly changed and switched to next pictures very smoothly. Fantastic played scenes of the trance, possession of outside world. Finally – the end, full of internal dilemma and alleviation, the music of a barrel organ which proved to be funeral threnody. Simply – revelation.

Leszek Mądzik (stage designer and director, Catholic University in Lublin)
- "Kingdom" has touched the climate, feeling, tensions and mystery, which are the most important for me in the theatre. This performance has looked in our subconscious.

Dariusz Kosiński (historian of drama, faculty of drama on the Polish philology department, Jagiellonian University)
- For me definitely the best performance was "Kingdom" by Theatre of the One Poem. It was the one and only performance with so original scenic vision, so consistently coherent. (…) After seeing "Kingdom" I expired something, which I very appreciate in theatre – a long moment of come round