(Alicja Brudło, Weronika Fibich / Warsaw–Szczecin, the theatre investigation) 

There is a distance of over four hundred kilometres between Warsaw and Wąchabno.  The story goes  back to 1934, it is a path of voices, sounds, and documents. At the same time there is one instrument. There is also a female descendant. There are also loopholes in the story she tells or invents. There is emptiness that can scarcely be discerned among hundreds of yellowed sheets, among recordings eternally waiting for their listeners, on the sandy road to Wąchabno, between curved goat horns, on the borderland, in Wielkopolska and in its music. How to find a voice that nobody remembered in advance? Recreation of this voice during the performance is an attempt to find one’s own identity.