Warsaw Goes Feral!
Feral Metaverse enters Warsaw. Produced by Kniaziakidis Productions for Theo Triantafyllidis at CCA Ujazdowski Castle’s group show Jeśli/To (If/Then).
Guess what? Feral Metaverse is opening in Warsaw.
On October 3rd, Theo Triantafyllidis’ Feral Metaverse joins the group exhibition Jeśli/To (If/Then) at CCA Ujazdowski Castle. Produced by Kniaziakidis Productions and co-produced by Onassis ONX, this installation brings Theo’s feral multiplayer world into the castle’s layered architecture — part of a major lineup of artists exploring narrative, glitch, and game logic.
This is only the first announcement. More details on the show — and what’s coming next — very soon.
Full exhibition info via CCA Ujazdowski Castle.
Castle unlocked. Feral branch live.
On Work Behind the Work
What this report does really well is name what producers actually do — not just administratively, but structurally, relationally, politically. It lays out the reality of working “in-between”: translating between artists, institutions, funders, audiences — while holding the shape and flow of the work. It’s specific to theatre in Poland, but the dynamics are familiar across the whole cultural field.
Cover of "Producers as Central Figures in Theatre and Performing Arts" (2025), Zbigniew Raszewski Theatre Institute. Report by Magdalena Tędziagolska and Anna Biernat.
The Zbigniew Raszewski Theatre Institute just published a report called “Producers as Central Figures in the Theatre and Performing Arts Ecosystem.” It focuses on Poland, but the insights resonate far beyond that — across disciplines, geographies, and art forms.
I don’t work in theatre. But I do work in production — across contemporary art, digital media, hybrid formats. And in almost every setting, producers tend to be unnamed. We see the artist, the work, the event. But the person who holds the thing together? Not so much.
What’s so useful about this report is how clearly it spells out what producers actually do.
We work in-between — translating between institutions, funders, artists, and audiences.
We adapt quickly, problem-solve constantly, and hold the continuity of a project.
We manage contracts, logistics, relationships, expectations.
We know how things get made — structurally, politically, practically.
It also sketches the different ways people enter the field, how knowledge is passed on (or not), and what kinds of support systems exist — or could. It points to good practices: shared budgets, open rehearsal rooms, collective responsibility. It draws smart comparisons with the film world, where the role of a producer is clearer, more defined, and often more respected.
But what I appreciated most is that it names something I’ve seen again and again: the producer as someone who connects worlds. Not just between departments, but between values, visions, and systems. Not just logistics, but care.
Read the full report (PDF):
Producers as Central Figures in the Theatre and Performing Arts Ecosystem
If you’re in production — in theatre, festivals, exhibitions, games, installations — it’s worth a look.
The report is by Magdalena Tędziagolska and Anna Biernat, with contextual texts by Vânia Rodrigues and György Szabó — published by Zbigniew Raszewski Theatre Institute, 2025.