A neck-breaking yet exciting intention. Katarzyna Kalwat well-known from the many past editions of the Boska Komedia / Divine Comedy Festival, author of among others Return to Reims, hailed the crux of the COVID-time Divine Comedy in 2020 decided to take to the stage the monumental work of Georges Perec, considered untranslatable into the language of the theatre prior to that. The book of the French essayist, thinker, experimental filmmaker, and a member of the legendary literary group OuLiPo. In Life A User’s Manual, Perec invites us to a tenement house in Paris, which we exploit following the knight’s moves known from chess and prying on the lives of its, mostly weird, inhabitants. The monumental whole is composed of precisely 100 scenes, and Kalwat and Beniamin M. Bukowski (the author of the adaptation, who also worked with her on Return to Reims) try to recreate faithfully its structure, tearing an hour from the life of a tenement as a section of infinity. Following the French author, they are looking for a link between his piece and our time. Their narratives speaks of an attempt at giving the world a consistent image composed of an infinite number of elements, threads, things, images, and stories. They cannot be brought together, and yet everyone creates a private view of the world for their own needs, and we, the audience, are clashed with the images created by the protagonists.