CANTICLE OF CREATURES
by Teater A (Poland)
PERFORMANCE
Ambit: Theatre
The structure for the performance is based on the Canticle of the Sun, also called the Praise of the Creatures, written by St. Francis of Assisi. For the creators/artists, it becomes a prayer, a starting point for deepened ecological retreats; through their own bodies and relationships with other actors on stage they attempt to enter into that mystery, which for St. Francis, on his deathbed, lifted the veil…
The Canticle of the Sun – the best-known work of St. Francis – has never raised discussion about authorship, as it was confirmed both in the manuscripts containing Francis’s writings and in the earliest biographies. Its authenticity is attested by Thomas of Celano in both the first and second Life of St. Francis. St. Bonaventure also mentions it. The primary testimony, however, is the Assisi manuscript from the 13th century. The Canticle is a valuable record from the days when Francis, nearly blind, lay ill and abandoned in a poor hut of reeds near the church of San Damiano. Written in early Italian, it has undeniable literary value, but even more so its religious significance. On Francis’s lips, this song was the prayer of a man for whom the mystery of the created world ceased to be a mystery.
In formal terms, something ritualistic happens on stage, appealing to the longing for the original harmony of man with nature (the world given to us was good – the Arcadian myth). Subsequent threads emerge from listening – which is significantly supported by the musical layer, referring to field recordings – from them all further music should be born (ideally generated live by artists on stage, with the use of small instruments such as bells). The risk lies in the ‘ecological interpretation’ of this prayer, inevitably touching upon the degradation of the broadly understood ‘natural environment’. For this, contemporary insertions of a journalistic nature can be introduced, yet the aim is to avoid ending up with just another ‘eco-manifesto’. The notion of harmony with nature, inherited from St. Francis, seems deeper, carrying the discourse into a metaphysical dimension; hence the ‘bold attempt’ to use the concept of an ‘ecological mystery’. Such insertions also bring in the aspect of natural disasters – a reality in which humanity, attempting to subdue nature, is itself subject to it, often completely defenseless.
The Canticle of the Sun was probably created in three stages. The first part was written between winter 1224 and spring 1225, when Francis stayed in the hut near San Damiano. The second stanza was composed during the conflict between the bishop of Assisi, Guido, and the mayor, Oportolo Bernardini. The last stanza was written in 1226, just a few months before Francis’s death. From here comes the idea to divide the stage work on the Canticle of Creation according to threads that emerge from the context of written work.
TECHNICAL REQUIREMENTS
Around 20 litres of water
6 PC lights
2 led lights
2 wash lights
Large wooden table (for a person to lay on)
Plugging in with music
Lighting console
Number of artists: 4
THE COMPANY
Cultural Association Pro-Scenium is a non-profit public benefit organization based in Gliwice, Poland. Since its formal establishment in 2002 (with informal roots dating back to 1996), the Association has been a vibrant hub for theatrical creativity, producing original performances and fostering artistic education. At the heart of its mission lies the conviction that theatre is a vital tool for cultural dialogue, social inclusion, and personal development.
Pro-Scenium specializes in creating and presenting theatrical performances, ranging from intimate indoor plays to large-scale open-air spectacles. In collaboration with the established group Teatr A, the Association has developed a distinctive repertoire focused on socially relevant themes, historical narratives, and metaphysical inquiry, often delivered in innovative formats such as street theatre, religious drama, and mask-based performance.
The Association is also deeply committed to artistic education. It regularly conducts theatre workshops for youth and adults of all backgrounds, combining acting, movement, and voice work. These workshops often culminate in original performances that reflect the creative journey of the participants.
Workshops are designed and led by experienced instructors and professionals with decades of stage and pedagogical experience.
Pro-Scenium has participated in several international cultural cooperation projects, notably:
* “Mysteries & Drolls” (2017–2021) – a Creative Europe project reviving medieval street theatre traditions across Europe. “Myths & Masks of the Future (MYMA)” (2023–2025) – focused on mask theatre, environmental awareness, and inclusive art practices.
The Association collaborated with partners from Italy, Spain, Germany, Northern Ireland, and others to explore the intersection of sacred theatre, urban spaces, and ecological concerns.
Through creative residencies, international showcases, and cross-border performances, Pro-Scenium contributes to the development of a contemporary, inclusive European performing arts scene.
TEATER A (Proscenium)
Ul. Olchowa 48, 44-100 Gliwice
Poland
Mobil Phone Number
+48 693394197
sekretariat@pro-scenium.org
www.pro-scenium.org
