MARLENA SKONECZKO

Set designer, costume designer. A graduate of the Faculty of Graphic Arts at the Academy of Fine Arts in Warsaw. After graduation Skoneczko remained at her Alma Mater and studied at the Faculty of Stage Design under Prof. Andrzej Sadowski.

Since her debut in 1992, Skoneczko has created over 80 stage sets for theatre, opera, television, and film. She has cooperated with: the Szaniawski Theatre in Wałbrzych, Opera and Operetta house and the Polish Theatre in Szczecin, the Żeromski Theatre and the Świętokrzyska Philharmonic in Kielce, the Baltic Opera in Gdańsk, the Wybrzeże Teatr in Gdańsk, the Jaracz Theatre in Olsztyn, the Studio Theatre and the New Theatre in Łódź, the Horzyca Theatre in Toruń, the Węgierka Theatre in Białystok, the Powszechny Theatre and the Rampa Theatre in Warsaw, the Old Theatre in Cracow, and the Théâtre du Capitole in Toulouse.  She has frequently worked with the Television Theatre, the TVP Film Agency, and has designed costumes for numerous Polish films.

Between 2002 and 2017 Skoneczko worked for the Warsaw Chamber Opera, where she co-created the following performances: L’elisir d’amore by G. Donizetti – costumes, The Emperor of Atlantis by V. Ullmann – costumes, Orphée by D. Przybylski – costumes, as well as stage sets and costumes for the operas: Falstaff by G. Verdi, Balet dworski(show based on various works by W. A. Mozart), Azione teatrale by W. A. Mozart, In the Land of the Magic Flute by W. A. Mozart, The Marriage of Figaro by W. A. Mozart, Jephté by M. P. de Montéclair, Pigmalion/Dardanus by J.-P. Rameau, The Barber of Seville by G. Rossini, Il Finto Stanislao by G. Verdi, The Marksman  by C. M. von Weber,Zbrodnia i kara by B. Matuszczak, Don Giovanni, or the Libertine Penalized by G. Albertini, Giulio Cesare by G. F. Handel, Prometeusz by B. Matuszczak, Matrimonio con variazioni by J. Koffler, The Barber of Seville by G. Paisiell, Tre donne, tre destini by G. F. Handel, Il filosofo di campagna by B. Galuppi, The Burning Fiery Furnace by B. Britten, The Rake’s Progress (Żywot rozpustnika) by I. Strawiński, Polieukt by Z. Krauze, La voix humaine by F. Poulenc, Ja, Kain by E. Pałłasz.

 Marlena Skoneczko is also the author of the stage set and puppet designs for W. A. Mozart’s The Abduction from the Seraglio (2014) realized as part of the revived Puppet Stage in the Warsaw Chamber Opera.

During her career she had an opportunity to work with many well-known directors, such as: Romana Agnel, Jitka Stokalska, Tomasz Konina, Michał Kwieciński, Jerzy Lach, Jorge Lavelli, Wojciech Nowak, Ryszard Peryt, Maciej Prus, Piotr Szczerski, Stanisław Tym, Marek Weiss, Margo Zalite, and Krzysztof Zanussi.

Since 2017 she works in the Polish Royal Opera. To date she has co-created the following performances: Dziady – Widma (The Phantoms) and Straszny dwór (The Haunted Manor) by S. Moniuszko, The Marriage of Figaro, Don GiovanniThamos by W. A. Mozart, Aleksander i Apelles (Alexander and Apelles) by K. Kurpiński, Messiah Totus Tuusby G. F. Handel and Quem Queritis with music composed by J. Urbaniak.