Forget the classic pastoral “Halka” by Stanisław Moniuszko and Włodzimierz Wolski, one of the most clichéd "monuments of Polishness" that we can imagine on opera stages. Anna Smolar and the co-author of the script, the writer Natalia Fiedorczuk set fire to the fuse under the "Halka" that we know from students' reading lists and tell the story completely anew. In their version, Halka is someone more than a lost madwoman, a debauchee, and finally a victim of the male world from old adaptations. She takes her fate into her own hands and decides not to commit suicide and to go a completely separate path. Anna Smolar's performance is a deconstruction and an attempt to take a new path when it comes to interpreting Moniuszko's opera. With the excellent music of the Enchanted Hunters duo and sometimes brazen humour, she talks about not Halka, but about people like her. Today. Playing with form, language, mocking our habits, she presents a completely new story of  an (unsuccessful) exclusion.