BABEL 2025. Sorrow and joy, life and death, legend and reality—translated into gesture in the performance Gloria. I watched the show Gloria by the Lviv Voskresinnia Theatre from Ukraine with great attention, deeply fascinated and with tears in my eyes. Directed by Yaroslaw Fedoryshyn. Something truly extraordinary.Actors, acrobats, dancers, and mimes, standing confidently on stilts as if from another world, showed the several hundred residents of Târgoviște gathered yesterday at Mihai Viteazul Square how complex theatrical art is, and how much effort, talent, and passion it contains. To perform for 45 minutes in constant motion, without a single moment of rest, shifting from one state to another in an uninterrupted chain of situations—this is spectacular. Through gestures rich in deep meaning, using fire as the main element for encoding and decoding the performance—along with smoke, fireworks, costumes, and other props, as well as music and choreography—the artists offer the audience a story of a nation and its tradition, its struggles and suffering, both in the past and today. They reveal love, trust, hope, simplicity, and naturalness—values that seem almost lost in the modern world.Like a visual ballad, the performance guides the viewer through the history of a nation, with all its meanings, sources, roots, legends, and mysterious rituals.
Obagila Ion, incomod-media.ro

Gloria International Street Theatre in Jelenia Góra (Pl). The audience eagerly awaited the first event of the festival: Gloria, a performance by the Lviv Voskresinnia Theatre. Rooted in the group’s distinctive poetics—already familiar to the people of Jelenia Góra from last year’s The Cherry Orchard—the show is a metaphorical and ethnic journey, a poetic tale about life and the elemental forces of fire and water. The latter seemed to arrive on cue, falling straight from the sky. A light rain began to fall precisely at the moment when the soundscape was filled with thunder. Some members of the audience even wondered whether this was yet another special effect. It was not—it was real rain, which soon stopped and did not prevent the performance from being completed.The spectacle revealed motifs drawn from both Eastern and Christian cultures. The musical score played a crucial role: on the one hand, classical music; on the other, contemporary sounds with a popular character. This juxtaposition is not jarring; on the contrary, a song performed by Ruslana, the Eurovision winner, used for a stilt dance, gained an entirely new value. In some sections, live percussion was performed by Igor Szerjajew. Added to this were the painterly quality of the scenes, highlighted by expressive lighting, and pyrotechnic effects. Gloria, directed by Yarosław Fedoryshyn, deservedly received warm applause. Tejo, jelonka.com