- Completed audiovisual work
- Approx. 65–70 minutes
- Polish language
- English subtitles available
- Screening + Q&A format available
- Presented in Brzeszcze, Oświęcim and Sydney
- First international screening: Polish Club Ashfield, Sydney, 21 June 2026
THE FIRST WORK WITHIN RAP-ORT
PRAWDA SUMIENIA
A completed audiovisual historical work about testimony, memory and conscience.
Rap-Ort: Prawda Sumienia is a completed Polish-language audiovisual work of approximately 65–70 minutes, shaped by narrative music, cinematic image, text, silence and a responsible relationship with historical sources. Presented in Brzeszcze, Oświęcim and Sydney, with the first international screening held at Polish Club Ashfield in Sydney on 21 June 2026. English subtitles are available, together with an institutional screening and Q&A format.
PROJECT STATUS
Completed work, available for presentation
PROJECT GATEWAY
What Prawda Sumienia Is
This page is a public gateway to the completed work and its tone: focused, restrained and rooted in a responsible relationship with memory.
The work grows out of the testimony of Witold Pilecki, the reality of KL Auschwitz, the pressure of totalitarian systems and the question of what happens to conscience when truth becomes dangerous.
Prawda Sumienia does not attempt to tell the whole history. It leads the viewer through selected moral tensions: testimony and silence, memory and comfort, responsibility and survival.
For viewers unfamiliar with Polish history, the work can be entered through universal questions of truth, silence, fear and responsibility.
HOW TO ENTER THE WORK
How to approach Prawda Sumienia
The viewer does not need to know every historical detail before entering Prawda Sumienia. The essential tension is clear: a human being is placed before a truth that may cost more than safety.
The work is best received without hurry. It does not lead the viewer toward a simple answer, but toward an encounter with memory, source and the moral weight of choice.
HOW TO WATCH
Not as a lesson. As an encounter.
Music
Music carries emotional tension and narrative rhythm, but it does not replace the sources or the historical context.
Image
The visual layer builds a symbolic cinematic space of memory, without graphic violence and without pretending to be archival footage.
Text
Words guide the viewer through report, testimony, choice and the moral cost of decision. History is not reduced to a slogan.
Silence
Silence gives the viewer space to enter the question instead of simply consuming another historical story.
ATTENTION
How not to watch
Do not look for a reenactment. Do not look for a simple summary. Do not look for spectacle.
Look for the question that remains after the screening — the question of the human being, truth and responsibility when silence appears safer.
THE ROAD OF THE PROJECT
From sources to public experience
Source stage
Working with sources and memory
The project developed through contact with historical sources, memory materials and the institutional context of remembrance. This stage shaped the tone of the work: no sensationalism, no easy simplification, and a constant focus on responsibility of form.
Premiere
Brzeszcze
The first public presentation showed that Prawda Sumienia could function not only as an audiovisual album, but as a shared experience for viewers — with space for presence, concentration and conversation.
Anniversary event
MUP in Oświęcim
The Oświęcim screening, held at a university bearing the name of Cavalry Captain Witold Pilecki, gave the project a particular weight of place, date and post-screening reflection. It marked a step toward an institutional and educational format.
International screening
Sydney — first international screening
On 21 June 2026, Rap-Ort: Prawda Sumienia was presented at Polish Club Ashfield in Sydney as the project’s first international screening. The work was shown in Polish with English subtitles and followed by a post-screening Q&A with the author.
RESPONSIBLE FORM
Sources, image and the limits of interpretation
Prawda Sumienia uses an artistic language, but symbolic visuals are not presented as historical evidence. The visual layer is meant to guide emotion and imagination, not to replace the archive.
At the centre is the human being placed under historical pressure: the person who sees, records, remains silent, speaks, or carries the consequences of a choice.
For that reason, the work asks for attention. It is not about understanding everything quickly. It is about allowing the question to remain after the screening.
CONTEXT
For viewers, institutions and communities of memory
The project can function as an institutional screening, an anniversary event, an educational encounter, a Polish diaspora programme or a reflective way of speaking about historical memory.
It works best when it is not treated as a performance, but as an experience: with time for silence, conversation and the viewer’s own response.
After selected screenings, participants may receive event-specific materials. They do not replace the work; they help preserve the trace of the encounter.