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Piotr B. Dąbrowski
Being oneself on stage

A middle-aged man with graying hair sits in front of a theater audience - conversation graphic
Piotr B. Dąbrowski, photo Grzegorz Bembiński
Piotr B. Dąbrowski
Being oneself on stage

What went through your mind when you watched the footage of the first Equality March in Białystok in 2019, which turned into a pogrom?

I was in Hamburg at the time, performing Marta Górnicka's Hymn to Love, so I saw the horrifying images and footage from a completely different world. I still remember them-they felt so unreal.

Were you surprised by the attack?

I have to say, I was taken aback by the sheer scale of the homophobic hatred.

Do you still have any connections to your hometown?

My only ties are with my family-my mum, brother, and younger sister. My older sister lives in Wrocław, so she's the closest in terms of distance. I left Białystok twenty years ago, and after living in Poznań for the past fourteen years, I consider myself a true Poznanian. When people ask where I'm from, I always say Poznań. This is my city, and I think it's wonderful. I'm very happy to call it home. When I go to Białystok, it's usually for family events, although next year marks the 50th anniversary of the Puppetry Art Department where I studied, so I might make a visit for that.

Did you come out while still living there, or only after leaving?

You could say I only cracked the closet door open slightly. Białystok was, and still is, very conservative, especially in the 1990s when I was a teenager. To be honest, I still don't feel safe or comfortable there, which doesn't encourage frequent visits.

Did you have any kind of refuge there as a teenager?

I did, in theatre-specifically in the Białystok Puppet Theatre, where I started going from a young age. That's where I became fascinated with acting and with the men on stage. I loved the idea of putting an attractive man in the spotlight. The stage itself was equally appealing, offering the chance to be whoever you wanted and express yourself freely. That opportunity felt much larger than anything available off-stage.

You started with the PRO youth theatre, run for over 20 years by the late Jerzy Siech, an actor at the Białystok Dramatic Theatre.

A female friend took me there, and she must have done it very well as I stayed there throughout high school while preparing for drama school auditions. I even chose my high school for their promised focus on humanities and the arts, and ended up in the same class as Daniel Arbaczewski, a graduate of the Puppet Theatre in Wrocław.

Did this youth theatre give you more than just practical skills?

Yes, a lot more. It broadened my horizons, especially my reading interests-I started reading more, particularly plays. But perhaps more importantly, it showed me that acting is not just about memorising lines and delivering them on stage. It's much more than that. It's a long, fascinating process of searching, and the goal is to have the audience suspend disbelief and forget they're in a theatre.

So why didn't you go straight to drama school after high school and instead studied Economics?

I let my parents talk me into it, to be honest. Interestingly, after a while even they realised it wasn't a good idea. My lecturers and fellow students could tell, too-everyone saw it wasn't my place. In the end, after two years studying Economics at the University of Białystok, I got accepted into the Puppetry Faculty, where many of the actors I'd seen perform in the Białystok Puppet Theatre had studied.

Did you enjoy it there?

Very much so-I've never regretted it. I learned a lot, met wonderful people-it was the perfect choice. When I graduated, I felt I hadn't wasted any time and that I had been given a solid toolkit to keep working in theatre.

Were you dating anyone at that time?

No, it seemed impossible to me back then. I did make small attempts to meet people, to move beyond just friendship, but I didn't succeed. I was too inhibited and scared. Of course, I wasn't the only non-heteronormative person on campus, but nobody spoke openly about it. I came out to my classmates around the middle of my studies. That's when I realised I needed to move to another city to see if things could be different elsewhere. I think if I weren't gay, I might never have left Białystok.

But you were, and you did leave-for Toruń. What made you choose Toruń?

I made my debut at the Dramatic Theatre in Białystok twenty years ago, so it's my anniversary. Shortly after that, I moved to work at the Baj Pomorski Theatre in Toruń, encouraged by my friend and actress Marta Parfieniuk-Białowicz. I started as a guest actor and then joined the company for nearly six years. When I felt it was time to move on, I met Paweł Szkotak, the director of the Polski Theatre, at a festival, and he invited me to Poznań.

While in Toruń, did you finally kick off your gay life there?

I did, in a sense. I got involved with an actor from the Wilam Horzyca Theatre, and we eventually moved in together. That made my life completely different from what it had been in Białystok. Things started to fall into place-I began opening up, met other gay people from Toruń's artistic community, and my sex life began.

Did you and T. live openly as a couple?

At first, for about a year, we kept things relatively low-key. But eventually, all our friends and everyone at the theatres knew-we weren't fooling anyone. People kept seeing us together all the time and they connected the dots.

Did you support each other as actors, or was there competition between you?

We were in different theatres-T. was at the drama theatre, and I was in puppetry, so there was no competition, which I think was quite healthy. Things got a bit more complicated when I moved to Poznań and became a dramatic actor, though. Some competition and comparisons did creep in, especially with the added strain of a long-distance relationship. We broke up three years ago, after the pandemic.

You spent half your time at the Polski Theatre under the management of Paweł Szkotak and the other half under Maciej Nowak, who is openly gay. Was this change important for you?

I was really pleased when Maciej arrived. A new director always brings new challenges, but what made me happiest was that I would no longer be the only gay person at Polski Theatre. Konrad Cichoń, who's also gay, joined us too, and it really transformed the theatre, making it much more vibrant. This shift opened us up to queer issues, and it was a breath of fresh air. It was only then that I realised how much I needed this-both as an actor and as a gay man. Maciej's arrival helped me let go of my remaining inhibitions. That's probably when I first felt real gay pride. Today, I have no issues with my identity or orientation. I live openly and quite successfully. I feel freer than I ever have.

So your family knows as well?

They do, though they only found out after I left Białystok. The first people I came out to were my sisters, and they took it well. Telling my brother was harder, for both him and me. He didn't take it well at first. But today, things are completely different-he now not only has a gay brother but also a transgender child, and he's become a devoted LGBT+ ally. And, unsurprisingly to you, my mum was the last to know. I followed my siblings' advice, probably out of fear of how she'd react. When I finally told her, we had a beautiful conversation with lots of tears, laughter, and hugs. My mum's only complaint was that I waited so long to tell her.

And what about all those women in the audience who used to, and maybe still do, have a crush on you? Weren't you afraid they'd lose interest or that you'd miss out on certain roles?

No, I'm past worrying about things like that. Besides, you have to remember that having a crush doesn't always lead to something-it can be unrequited, although not everyone realises that. A friend of mine, Malina Goehs, who used to study at the STA Acting Studio, told me she once explained to a group of students in our theatre school in Poznań that having a crush on me was pointless because I wasn't straight. They were disappointed, but what can you do? That's life.

What do you need teaching at STA Poznań for?

I've taken a break for now, but I really enjoyed it, even though I initially doubted whether I had anything to teach others. It turns out I did, and I'm actually quite good at it. Ten years at STA flew by quickly. Teaching for me isn't a one-way street, though-it's an exchange. I learn a lot from my students when I'm there. And it was at STA that I discovered I had a talent for directing, which was a pleasant surprise. I've already directed a few diploma performances, and I love seeing the increasingly queer generations of students coming through. Some of the freedoms they have now, things they take for granted, were completely unthinkable when I was in school. I envy the liberty they experience-the liberty I never had. Back then, I was always on edge, watching carefully to see if anyone noticed I was gay. I could only dream of expressing my queerness on stage.

Today you're openly gay, performing in a theatre that proudly flies the rainbow flag, and you're rehearsing for a queer play that will kick off Poland's first queer theatre festival.

It's incredible. I'm currently in rehearsals for a play directed by Piotr Pacześniak, based on Querelle de Brest by Jean Genet-it's as queer as theatre gets. On top of that, I'm playing the lead role of Querelle, an ambiguous, non-heteronormative, charismatic, and controversial figure. He's a seductive criminal who plays by his own rules, a subversive manipulator. Genet openly said he wrote the novel for homosexuals, but of course, the performance-and the festival-is for everyone, no matter what orientation. As we all know, everyone's welcome in Poznań.

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