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B i o g r a p h y

Maria Peszek was born in 1973 in Wroclaw into a family of actors, including her father Jan and brother Blazej. In an interview she said: "I always knew I'd be an artist. At first I wanted to work in the circus, later then I dreamt about a career in opera, after that I already knew I would become an actress." (Gazeta in Krakow, no. 131, 7-8 June 1997). In 1996, she graduated from the acting school in Krakow.

Her debut appearance was in the 1995 production of Bruno Schulz's SANATORIUM UNDER THE HOURGLASS / SANATORIUM POD KLEPSYDRA, directed by Jan Peszek at the Slowacki Theatre in Krakow. In 1996, Jerzy Grzegorzewski invited her to play the part of Malgoska in Molier's DON JUAN; since that time, she has been associated with Warsaw's Studio Theatre. She still works with Jerzy Grzegorzewski in his productions at the National Theatre, which have included Stanislaw Wyspianski's NOVEMBER NIGHT / NOC LISTOPADOWA (1997), Witold Gombrowicz's WEDDING / WESELE (1998). She played the leading role in the Studio Theatre's 1997 production of Gombrowicz's IVONA, PRINCESS OF BURGUNDIA / IWONA, KSIEZNICZKA BURGUNDA, directed by Ewa Bulhak, and appeared in Zbigniew Brzoza's production of ANTIGONE by Sophocles (1998). Reviewers praised her "pure nonsense/serious" performance in Danilo Charms's BAM, directed by Oskar Korsunovas at the Studio Theatre (1998). "This young actress has hinted at the unusual acting talents. Her role in Korsunovas's production is a true concert for acting talent. Maria Peszek internalized Charms' entire poetics and she herself embodied this poetry, killing her audience with a strange laugh every few minutes, like a cartoon character," wrote Piotr Gruszczynski. (Tygodnik Powszechny, no. 29, 19 July 1998)

She also got very good reviews for her performance as Simoninia in Ramon del Valle-Inclan's GOD'S WORDS, directed by Piotr Tomaszuk at Warsaw's Variety Theatre (1998). Although hers was not a leading role, it was nevertheless important to the production. "The marvelous thing about this role is that Maria Peszek does not act at all. She does acts, but her acting emerges organically from the situation, from her body and words, and that's why we do not interpret this role as a an instance of acting virtuosity, but as reality (...). In a play, which has its high and low points, we swing between images of the Spanish poor and a morality play, Maria Peszek's Simonia is the most reliable role." (Roman Pawlowski, Gazeta Wyborcza, no. 292, 14 December 1998.)

The fairy tale for adults - Winnie, based on Alan Alexander Milne's WINNIE THE POOH, directed by Piotr Cieplak at the Studio Theatre (1999) received mix reviews from the critics, but this time, too, Maria Peszek's performance was very well received. Janusz P. Kowalczyk wrote: "In my opinion, whoever hit on the idea of casting Maria Peszek as Winnie the Pooh deserves an Oscar, she is a winner in that role from the moment she appears on stage. She has won over her audience as Winnie the Pooh, even though her incarnation is very different than the Pooh of the book's illustrations by Ernest H. Shepard, or in Disney's later adaptation. Peszek's interpretation of the teddy bear's personality is very believable" (Rzeczpospolita, no. 253, 28 October 1999). "How should we describe Maria Peszek in the role of Winnie the Pooh? Chaplinesque? Marionette-like? Maybe cartoon-like, like in the old animated cartoons, whose characters were made out of a few pieces of cardboard that had been cut and folded, or out of a few building blocks or marbles, who were often one-dimensional and lived their adventures in their own limited way." (Jacek Kopcinski, Teatr, no. 10/12, 1999)
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