choreography/dramaturgy/lights:

Joanna Leśnierowska

performers:

Aleksandra Borys, Márta Ladjánszki, Janusz Orlik

music:

Zsolt Varga

exercised by:

Aleksandra Borys, Márta Ladjánszki, Joanna Leśnierowska, Janusz Orlik, Zsolt Varga and Halina Chmielarz

graphic design:

Michał Łuczak

concept and shooting:

Leś&Łuczak

production manager and technical realization:

Łukasz Kędzierski

produced by:

Art Stations Foundation by Grażyna Kulczyk

with residency support of

DeVIR/CAPa, Faro; El Graner, Barcelona our thanks go to Ana Rodrigues & José Laginha, Mara Maso & Elena Carmona, to Peter Pleyer for his support during kick off residency in March 2013 and always for the Team of ASF’s performative program

The beginning of this work lays in the image.
Many images.
Yet the few people who appear in them seem to be employed rather as prototypes of humans than individuals – figures frozen in positions, gazing mildly into unknown, waiting, withdrawn into themselves, isolated, often lost as if being thrown into existence without any choice, suspended, detached from space and time. Reminiscent of stills, the images are asking for imagination and emotional engagement of the beholder, inviting to think further into the story which is only suggested by the image... And here is where we enter the stage…

concept:

Jacek Krawczyk

choreography/directed by:

Jacek Krawczyk, Joanna Czajkowska

choreographic consultants and dancers:

Joanna Czajkowska, Jacek Krawczyk, Joanna Nadrowska, Grażyna Słaboń, Magdalena Wójcik

music:

Bartosz Hervy

costumes:

Agnieszka Puławska according to the project of Julia Porańska

visuatization:

Łukasz Boros

lighting design:

Artur Aponowicz

The point of departure for the piece was Antonin Artaud’s Theatre of Cruelty. On the one hand, it is close to dance theatre stemming from the dancer’s body and movement. On the other, contemporary dance often makes use of refined aesthetics, constructing multilayered worlds by means of other tools as well. This specific paradox was accepted as a challenge by the piece’s creators, who decided to ask the audience and themselves what the real “self” of the contemporary man is and whether the cool stage form of today suffices to render it?

website of Sopocki Teatr Tańca

choreography:

Włodzimierz Kaczkowski

performers:

Magdalena Radłowska, Elwira Piorun, Paulina Święcańska

production:

Fundacja Scena Współczesna

Three women. Three worlds. Three characters. Three radically different social and cultural contexts. 50 Shades of Eve presents women so different from each other as different their respective backgrounds, places of residence and relations with men are. Reserved, liberated, delicate, strong and independent, dominating and dominated: the dancers seek to investigate all the different images of femininity present in contemporary media and culture. How many shades does today’s “Eve” have?

choreography:

Joanna Wolańska

performers:

Grupa OFF Harnam, Miejskie Darcie Pierza

music concept:

Agata Butwiłowska, Dariusz Trzciński, Karolina Zajdel

stage design:

Helena Miłość

The piece brings together live performances of traditional Polish songs and choreographic displays oscillating between contemporary dance, folk dance and drama. Reaching out to the roots, it gives rise to a new, surprising, contemporary form.

choreography/performers:

Korina Kordova, Przemek Kamiński

dramaturgy:

Mateusz Szymanówka

producer:

Teatr Maat Project, V International Maat Festival 'Border Line', the Centre of Culture in Lublin

with support of:

Centrum w Ruchu

DON’T STOP READING OR SOMETHING BAD HAPPENS. Actually, there was no residency. Actually, we were doing astral research. Actually, we were collecting money for the Institute of Choreography and Witchcraft. Actually, we left our physical bodies. Actually, it’s not a festival. It’s a withes’ sabbath. If you receive this chain letter and don’t share this beautiful story, we’ll take over your body. Forward it to 100 people and you’ll save Polish dance.

trailer #abyss.witchroulette

choreography/performer:

Aurora Lubos

music:

Motion Trio

The piece is based on real stories of domestic violence and was conceived in reaction to reading letters and talking to people who experienced harassment. It draws on artistic classes run in support centres for abuse victims, which are mostly women and children: I want to enable those who cannot scream in their defence to start talking. So that they could speak about their entanglement, helplessness, their yearning for silence. I conceived it as a sequence of acts – fragments of texts, exits, dissolution, images.

choreography:

Kaya Kołodziejczyk

performers:

Opera na Zamku ballet company: Żaneta Bagińska, Karolina Cichy-Szromnik, Vladyslav Golovchuk, Patryk Kowalski, Vasyl Kropyvnyi, Monika Marszałek, Stephanie Nabet, Piotr Nowak, Olga Tatarcew, Maksim Yasinski, Aleksandra Zdebska

music:

Witold Lutosławski

stage design:

Katarzyna Meronk

costumes:

Tijana Jovanović

lighting:

Dawid Karolak

production:

Opera na Zamku, Szczecin

Aria di Prefiche is set to Witold Lutosławski’s Musique funèbre, which was dedicated to the memory of Béla Bartók. The choreography rediscovers natural phenomena such as wave transformations, shoals of fish, changes of the air, vee formations of birds. The only symbolic presence on stage are Prefiche, once popular professional mourners.

trailer "Aria di Prefiche"

choreography/performers:

Tomasz Bazan, Tomasz Fabiański

directed by:

Tomasz Bazan

dramaturgy:

Enzo Abe, Tomasz Bazan

music:

Marcin Janus

video, design:

Patrycja Płanik

production:

Maria Sapeta – Centrum Kultury w Lublinie – Maat Festival – Teatr Maat Projekt – Ministerstwo Kultury i Dziedzictwa Narodowego RP

Returning to culture is becoming an unattainable human dream. Artists are a unique, exceptionally rare good. With the end approaching near, a new system and a new set of values emerges. Daniel and Super Adam – an artisan of culture regime – meet at a road junction and draft a manifest of the new. Emanations of Brejart, Bausch, and Nijinsky materialise in one container. Post-rite is continuing. The classic ballet form that has been underlying the choreographic code is now being transformed. The piece uses the classical dance experience of long-time dancer of the Polish National Ballet, Tomasz Fabiański.

“We decided that people don’t act rationally, or – to say the least – that they act rationally only sometimes, which follows from their personal characteristics and the way the world is constructed. Yet, they are not stupid, but desire knowledge of their situation and their future. That is why they would be willing, although not pleased, to be given the full picture, boiling down to this simple assertion: it won’t get better in foreseeable future.”

– Marcin Król, Europa w obliczu końca (Europe Facing Its End)

choreography/performers:

Paweł Sakowicz

dramaturgical consultation:

Natalia Sakowicz

costumes:

Rafał Zajko

graphics:

Agnieszka Diesing

supported by:

Institute of Music and Dance, Uferstudios Berlin, Mica Moca Project Berlin

The performance realized in the framework of scholarship from the Ministry of Culture and National Heritage

My attitude to Thomas Bernhard is not univocal, I say, because it’s easy to admit that Bernhard is reserved for the theatre, but when it comes to the musicality of language, it may be different, Bernhard’s musicality and rhythm, I say, because of this musicality and rhythm I have been thinking for quite some time about movement which, it might be perhaps said, ensues from the musicality of language, the movement that I am thinking about expresses my attitude to Bernhard, or on the contrary, says I, my attitude to Bernhard is not that univocal.

choreography/light/performance:

Iza Szostak

music/visuals/performance:

Kuba Słomkowski

production:

Art Stations Foundation by Grażyna Kulczyk

partners:

Centrum w Ruchu, Adam Mickiewicz Institute

The project focuses on the experience of childhood. In the words of the choreographer: “Childhood consists of traces, reminiscences and objects. With this performance I wish to give myself an opportunity and a space to rediscover and interact again with objects which represent the experience of childhood to me. What I am interested in is working with memory, undertaking a corporal reconstruction of signs of the past, a reality long gone in both the cultural and social dimension and the individual one.”

performers:

Radek Hewelt, Filip Szatarski

dramaturgy:

Michał Kotański

soundtrack production:

Guenther Berger

graphic design:

Agnieszka Gantz

stage design:

Luke Baio

choreographic consultation:

Julia Mach

costumes, music, lyrics:

Radek Hewelt, Filip Szatarski

production:

Visitores - Verein zur Projektion kuenstlerischer Ideen

CLEVER PROJECT is an attempt to take a stance on the current economic crisis and the artist’s situation in contemporary world in this context. CLEVER TEAM (Hewelt and Szatarski) present the audience with a unique programme of ten performances for the price of one ticket, complemented with an extra stage for promotion. Members of the audience will have a chance to attend a dance show, an opera performance, a group counselling session, among other offerings.

trailer CLEVER PROJECT

choreography/performers:

Michał Ratajski, Adrian Bartczak

costumes:

Zuzanna Markiewicz

The definition of the route, its multidimensionality, distance, time and process relate also to human mind. The struggles happening in its corners are difficult to realise, never mind to fully understand. Human nature is complex, full of opposite experiences, of looking for stability and acceptance. It can lead you into completely unknown regions of consciousness. But the desire for reaching the goal seems useless in comparison to experiencing the route itself.

Website of KIJO Group

concept/performers:

Izabela Chlewińska and Tomasz Bergmann

text:

Julia Holewińska

From the authors:
The progress of civilisation, manipulations of natural resources, and powerful intrusion of financial systems into people’s lives result in dehumanisation of individuals. Aldous Huxley, author of New Brave World, pointed out that as humans we are a wild species and will remain that way until we are tamed by another, more developed kind. Until then, we are going to experiment on ourselves. What we would like to do in DP1 is to reflect on whether ideologies such as transhumanism that postulate using technology and science to enhance human beings may lead up to the technological singularity, a moment when humans and machines merge?

direction and dramaturgy:

Matej Matejka

performers:

Guillaumarc Froidevaux, Zuzana Kakalíkova, Daniel Han, Magdalena Koza

music:

Zuzana Kakalíkova, Guillaumarc Froidevaux, Daniel Han

music director:

Ditte Berkeley

stage design:

Studio Matejka

costumes:

Agnieszka Katyńska

lighting:

Marcin Wójcik

stage movement:

Vivien Wood, Sarie Mairs Slee, Matej Matejka

Two people’s intimate relationship becomes an occasion to explore the universal quest for happiness that we undertake as individuals and being together with another person. The private space of a relationship allows for more personal and honest expression.

website of Studio Matejka

choreography/video:

Daniel Stryjecki

performers:

Agnieszka Fertała, Paulina Jaksim, Paulina Wycichowska

A multimedia dance piece discussing the process of labeling people based on appearances.

directed by/choreography:

Roberto Olivan

assistant - dance dramaturgy/choreographer:

Katarzyna Chmielewska

performers:

Adrian Bartczak, Sebastian Flegiel, Ilona Gumowska,Tatiana Kamieniecka, Piotr Stanek, Katarzyna Ustowska, Urszula Zerek

music:

Oleg Dziewanowski

music production:

Paweł Grabowski

costumes:

Kasia Piątek

lighting design:

Michał Kołodziej

production:

Teatr Dada von Bzdülöw

The piece’s director and choreographer is Spain’s Roberto Olivan, the Dada Theatre’s long-time friend. He was assisted by Katarzyna Chmielewska, who provided dramaturgic and choreographic support. Other collaborators include musician Oleg Dziewanowski, who composed music for the piece and performs it live on stage, as well as seven young dancers and performers interested in the working methods, aesthetics and theatrical ideas worked out by the Dada Theatre over its many years of existence, that is Urszula Zerek, Tatiana Kamieniecka, Adrian Bartczak, Sebastian Flegiel, Ilona Gumowska, Piotr Stanek, and Katarzyna Ustowska.

website of Teatr Dada

choreography:

Magda Jędra, Weronika Pelczyńska, Iza Szostak

dramaturgy:

Agata Szczęśniak

stage design:

Wojtek Pustoła

lighting:

Karolina Gębska

Is it a criminal investigation? Who’s looking for whom? Maybe a director is all that’s missing? Europe’s looking for a director. Is it a piece on European identity? Or about the identity of the dancers? Why, instead of drafting treaties and holding talks, do the dancers switch from outfit to outfit, get dressed and undressed? Are they trying to lead us on? Four women, no director. Three dancers and a dramaturge investigating Europe’s future and looking for ways to cooperate.

concept/performers/texts:

Dorota Androsz, Agnieszka Kamińska, Katarzyna Pastuszak, Aleksandra Śliwińska

directed by:

Dorota Androsz

music:

Joanna Duda

video:

Mateusz Skrzypiec, Joanna Duda

collaboration:

Klub Żak, Gdańsk

production:

Teatr Amareya, Klub Winda GAK

The performance was realized by the City of Gdańsk in the framework of the 10th anniversary of Amareya Theatre

The project investigates the notion of fetish as a thing of peculiar power, emanating senses, rich in primeval qualities, and able to influence and bind. Why do we need more than we need? Why do we fear the lack of objects, emptiness? The production is also a journey to retrieve an object with the use of reflexes, fear, reverence, or desires. It explores fetishisation of the body and gaze as a power which objectifies the body. The project is a collaborative effort of the Amareya Theatre and Dorota Androsz, who normally works with the Wybrzeże Theatre.

website: Teatr Amareya

concept/directed by:

Magda Tuka

performers:

Magda Tuka, Anita Wach

video/sound:

Myles Stawman

production:

Ja Ja Ja Ne Ne Ne organization

supported by:

International Visegrad Fund

Fighting for entertainment has been popular with various audiences for centuries. The famous Nubian slave wrestlers entertained Egyptian conquerors with their fights already in ancient times. Simple yet hazardous to fighters’ health or life, wrestling may provide audiences with an array of compelling emotions, with the distance between the fighters and the audience possibly signifying a relation of power between them.

web page: Ja Ja Ja Ne Ne Ne organization

concept/choreography/performer:

Hygin Delimat

Dubbed Plattenbau, wielka płyta, panelák,  large-panel system building has been a loose interpretation of Le Corbusier’s idealistic propositions. Today, thousands of people exist crowded in narrow spaces, side by side, yet anonymous and disconnected. Blocks of flats stand for lack of communication, lack of perspectives, boredom and alcohol, but also street art and powerful motivation to act in some. For living in is an expressive form conveying all these emotions and experiences.

idea/concept/directed by/choreography:

Sławek Bendrat and Dominik Krawiecki

performers:

Marek Wieczorek, Tomasz Pomersbach, Giuliano Guerrini, Sławek Bendrat, Dominik Krawiecki

production:

Dampfzentrale Bern, Kanton Bern, Stadt Bern, Burgergemeide Bern

Freaks is a specific freak show, inspired by Hans-Christian Andersen’s The Ugly Duckling, Pyotr Tchaikovsky’s Swan Lake, and, although different in style, by Urlich Seidl’s film Hundstage. The piece focuses on two radically opposite urges: the desire to be unique, accepted and loved the way you are, and the need to adapt and integrate. Freaks shows that behind every weakness there are dreams, fantasies and a yearning for a more beautiful life.

more about Pink Mama Theatre

directed by/performer:

Irena Lipińska

concept:

Irena Lipińska, Magdalena Zamorska

multimedia:

Paweł Janicki

dramaturgy:

Magdalena Zamorska

lights:

Wojciech Maniewski

sound:

Dominik Wojtas

music:

We Draw A

graphic arramgement:

Paweł Pych

The work was produced under a scholarship awarded by the Polish Ministry of Culture and National Heritage

The narration concerning practices applied at Jerzy Grotowski’s theatre calls for deconstruction. Some topics have been (un)consciously ignored in critical discourse and artistic practice of Grotowski’s continuers. Was the master-student relationship between Grotowski and Cieślak based on dependence and addiction, projection and transference …? When the mind is no longer led by the body, it needs a prosthesis. Which may rebel. !GROT! is a dance piece in which the performer dialogues with technology.

website !GROT!

idea/directed by:

Wojtek Kaproń

dramaturgy:

Grzegorz Kondrasiuk

work on text’s interpretation:

Mateusz Nowak

performers:

Beata Mysiak, Wojciech Kaproń, Wojciech Łaba, Paweł Grala

sound:

Maciej Połynko

costumes:

Jola Szala

visuals:

Piotr Lu Lużyński/Jolanta Gmur

light:

Grzegorz Polak

The piece reworks some themes of Anne Frank’s Journal using the medium of dance, theatre and visual art. It is an attempt to find out how one may remain “a real human” deep within him- or herself. As today there is no universal memory of Shoah, and no universal language to talk about it. We need to construct this language each and every time anew, testing its possibilities and rejecting what’s redundant. In the story passed on to us by Anna Frank nothing makes sense; it is governed by its own, twisted logic; it asks questions; generates a multitude of paradoxes.

more about Hello Kitty

choreography:

Paweł Malicki

performers:

Artur Bieńkowski, Zbigniew Kocięba, Katarzyna Kulmińska, Kornelia Lech, Paweł Malicki, Josefine Patzelt, Adrian Radwański, (Daniel Navarro Lorenzo – premiere cast)

music arrangement:

Bartosz Dziadosz

stage design/costumes:

Adriana Cygankiewicz

lighting director:

Ewa Garniec

The Other is what he’s not and what he needs to make up for.
The Other is similar to me, he is the other Me.
The Other’s otherness reveals my own otherness. The otherness is mutual. The otherness is
astounding.
The Other that I encounter is in motion, and thus I realise that movement is possible.
I have to “open up” to the Other’s otherness, “giving up” my own otherness.
The Other requires me to become his food, a part of him, him. The Other causes pain. The Other
comes nearer to “feat upon me”. What should I do? Back away or surrender?

Inny (The Other) by Monsignor Father Józef Tichner

concept:

Małgorzata Haduch, in collabration with Maria Mavridou

performers:

Małgorzata Haduch, Maria Mavridou

music:

Arvind Ganga (guitar), Onno Govaert (drums)

lighting consultant:

Sebastian Molski, Emese Csornai

producer:

Unfinished Company

Help Me To Crash is Małgorzata Haduch’s original project created in collaboration with Dutch guitarist Arvind Ganga and dancer Maria Mavridou. In 2014 the trio was joined by drums player Onno Govaert, whose arrival opened up the next chapter in the piece’s development. Help Me To Crash is a performance of a specific choreographic and musical structure. The artists are interested in autonomy in the process of joint composition, building new relations and dependencies between sound and movement. Each time they define their roles anew, reassign their relations.

More about Help Me To Crash

choreography/directed by/written by/lighting:

Anna Piotrowska

performers:

Izabela Cześniewicz, Agnieszka Dziewa, Maria Grzegorowska, Agnieszka Kulińska, Monika Rostecka

music:

Michał Mackiewicz

costumes:

Adam Królikowski/Anna Piotrowska

production:

Wrocławski Teatr Pantomimy im. Henryka Tomaszewskiego

The piece draws inspiration from Umberto Eco’s On Ugliness. The actresses hand their bodies over to Ana the goddess of anorexia. Personification of anorexia enables the choreographer to explore who she is, what she thinks and feels. That is why the actresses undergo a specific transubstantiation, giving the idea of Ana a material form of their own bodies. The piece uses mime and contemporary dance as means of expression.

website of Wrocławski Teatr Pantomimy

directed by/choreography:

Simone Sandron

assistant to choreographer:

Elvira Zuñiga

performers:

Anna Żak, Beata Mysiak, Wojciech Kaproń, Ryszard Kalinowski

lighting's director:

Grzegorz Polak

sound/video:

Dariusz Kociński

producer:

Centrum Kultury w Lublinie

A new beginning, new hopes and new perspectives: when something new starts, your mind instantly produces wonderful visions built of newly uncovered hopes. Memories, past occurrences, are left behind, and the only things that count are the things to come. Only your childhood makes a stronger presence in your consciousness, while everything else loses its significance. Bits and pieces of memories, bruises and scratches, moments of joy, flashes of faces and places – these are only looming at the back of your mind, while the horizon shines with new, exiting temptations and possibilities. No matter that they too will soon become the past.

website of Lubelski Teatr Tańca

choreography and dance:

Anna Nowicka

dramaturgy:

Ivona Šijaković

music:

Pamela Mendez

costumes:

Tanja Padan

lights:

Joanna Leśnierowska

production:

Art Stations Foundation

coproduction:

Instytut Polski, Berlin

supported by:

Jardin d’Europe / WASP Studios, Bukareszt; Stowarzyszenie „Tratwa” - CEiIK, Olsztyn

In her solo the artist attempts to construct a mobile (movable, mutable) self-portrait that fails to be captured and fixed. In this constant becoming, she unveils a rip through which an agglomerate of fragments that define us flows in: individual and collective memories, beliefs, expectations, lies, dreams, promises, clichés, and second-hand experiences that shape the body as a site of a struggle and push it out of a comfort zone towards constant change.

What comes to mind when you think about links between power, religion and labour is Leni Reifenstahl’s biography. In I WANNA BE SOMEONE GREAT she becomes a symbol of the drive to take control of the reality so characteristic for the European culture. Currently, the labour/power/religion complex takes a different form than it did in Leni’s times, yet it still exerts influence on us and this influence is the piece’s topic. The performance asks an intriguing question: if Reifenstahl lived today, for what powers would she work and what kind of paintings would she make?

choreography:

Dominika Knapik

dramaturgy:

Wojtek Klimczyk

performers:

Helena Ganjalyan, Dominika Knapik, Dorota Wacek

music:

David Chazam

lights:

Alice Dussart

video:

Valery Faidherbe

website of Harakiri Farmers

choreography/performer:

Barbara Bujakowska

"I lock myself in the poky room of my imagination and there, only there, I arrange the world just like in childhood. I strongly believe that this childhood room contains THE THRUTH." (Tadeusz Kantor)

concept/choreography:

Ewelina Drzał-Fiałkiewicz

performer:

Ewelina Drzał-Fiałkiewicz

music:

Zoviet France, Daxa Braxa, Coma

How many faces does a human have? How many personalities roam his consciousness, and how many more remain obscure? How does our interaction with other people/objects/places influence our behaviour? When are we honest (with ourselves)? Have we ever arrived at this state? Does a woman lose a part of herself in every interaction, or does she recreate herself anew?

concept/movement research :

Janusz Orlik/Joanna Leśnierowska

performer:

Janusz Orlik

dramaturgy/light design:

Joanna Leśnierowska

sound remix:

Janusz Orlik

set design:

Marta Wyszyńska

technical realization:

Łukasz Kędzierski

visuals:

Michał Łuczak

production:

Art Stations Foundation by Grażyna Kulczyk

Insight seeks to find a physical and visual representation for emotional states of alienation from the surrounding reality. By placing the protagonist in a simultaneously realistic and metaphorical space of a stage which is dense with micro gestures, shadows and voices, the show confronts the inner and outer world providing us with an insight into some ambiguous emotional states. Translated into a powerful language of movement and image they draw us into a tense journey in the labyrinth of the human body that clashes, day after day, with the cacophony of the stimuli which surround it.

choreographer:

Irad Mazliah

performers:

Teatr Tańca AKRO: Joanna Miś-Fudali, Magdalena Bujalska, Kamila Jezierska, Małgorzata Pośpiech, Marta Pańka, Radosław Kubiak

I dream of horses
at time of change
at the foot step
at the entrance to the cave
I forget if I am the one exiting towards a voyage
or the one tied down to the cave wall
watching the dancing figures
in the dark.

A song for the horse in me at a time of change demands sacrifice.

directed by/video/design:

Ludomir Franczak

performers:

Justyna Jasłowska

music/sound:

Marcin Dymiter (Emiter)

The piece recalls Josephine Baker’s way of dancing: primeval, wild, born out of a resistance against the reality and at the same time flowing directly from the inside of the body. It also tells the history of resistance by means of rhythm and dance, spanning Sufi trances, Chechen lezginka, to Haitian voodoo rituals, samba paulista, and Kurdish resistance dances. It is a cycle of movement and music following from an internal need, evading conventions to finally become convention.

choreography/dance:

Bożena Eltermann

music/flut:

Manfred Maier

producer:

Bożena Eltermann

Koncert Opus 11 (Concerto Opus 11) is the first part of a dance diptych under the title Koncerty (Concertos). Musical composition terminology is used here to show analogies between dance and music, but also to underscore dance’s autonomy. The production is set to five pieces of music (composed by Kazuo Fukushima, Claude Debussy, Louis Moyse, Johann Sebastian Bach and Filip Emanuel Bach), performed by German flute player, Manfred Maier, among others. Bożena Eltermann’s choreographic idea and dance changes with each individual composition.

choreography:

Kaya Kołodziejczyk

dramaturgy:

Rafał Urbacki

performers:

Ilona Gumowska, Agnieszka Doberska, Tomasz Foltyn, Aniela Kokosza, Biały, Barbara Bujakowska, Sonia Egner

music/songs:

BiFF (Brachaczek & Fochmann)

stage design/video:

Margaret Krawecka, Aleksander Joachimiak

lighting:

Paweł Murlik

production:

Moma Film Foundation, ROZBARK Theatre

The piece is inspired by the book Nowe legendy miejskie. Śląsk (New Urban Legends: Silesia), created by primary school pupils of the region of Silesia. During the show, the audience will witness the UFO landing, Aliens arriving, and a multitude of ghosts giving people a major fright. Dancing, music, fancy costumes, impressive stage design and multimedia effects will take children on a fascinating journey into a world of imagination. Mysterious stories, hearsay, and gossip passed from neighbour to neighbour – all of this could have really happened. But did it?

performers:

Patryk Lichota, Beata Mysiak

The lighting arrangement used in the performance gives the dancer an exoskeleton as light is wirelessly “transmitted” to her costume in real time and in synch with live feed music, creating a virtual map of her body. When the dancer moves, her body’s image keeps losing its continuity and the audience’s visual perception is distorted with reoccurring afterimages of the “defragmented” body.

concept, choreography, performers:

Liwia Bargieł, Anita Dębowska

artistic collaborator:

Martin Sonderkamp

music:

Anita Dębowska

costume and stage design:

Martyna Kander

based on:

Mad girl’s love song Sylvia Plath

Inspired by Sylvia Plath, the performance reveals a spectrum of emotional fluctuations of the lyrical I and is an intimate farewell to the material world, an epitaph describing subsequent stages of Plath’s development as her condition worsened. It is nevertheless not a funeral work: Love Song recalls Sylvia Plath’s lively, vibrant spirit, her tragic sensitivity.

conception/performer:

Edyta Kozak

video effects/sound:

Wojtek Kaniawski

lighting:

Sebastian Kukliński

The artist about the performance: “I’m becoming more and more interested in the man, the artist – and less so in his work. For me, Bel is uncomfortable, exciting, controllably unpredictable; each of his works makes me go “You… bastard” – he sets snares in places where, it seems, nothing more can be caught … I want to fantasize with somebody about somebody who’s kept me in suspense for so many years.”

concept/choreography:

Rafał Dziemidok

performers:

Rafał Dziemodok, Ewa Garniec

light/space:

Ewa Garniec

music:

Bach Bleach by Raphael Rogiński

costumes:

Petra Korink

producers:

Art Stations Foundation by Grażyna Kulczyk, Mica/Moca, La Briqueterie

The title of the piece expresses the idea of using dance as a tool to tell concrete stories of people’s lives. The project tries to reconcile the need to preserve the abstract nature of the language of movement and narrations originating in the bodies/characters created by the performers. These characters are storytellers, masters of ceremony, comedians, clowns or combinations of such clichés – culturally endowed with the competence to amuse the audience and preach to them, mostly by way of sublimation of their own personal experiences present in their physicality.

website of Koncentrat Artistic Group

choreography/performer:

Anita Wach

The feeling of weariness caused by my own disorientation is seemingly reaching its peak. To be in the position and do something, or not to be in it and do nothing? Or perhaps not to be and do something? Because doing nothing and not being seems too radical. So, perhaps, then, to be and do nothing? Nothing at all. Rebel. Boycott oneself completely. Go on a strike! Stop moving. I calm down, do a striptease, and give my voice to those I believe, those I support, admire and respect. Those who also astonish me, inspire me, anger me, irritate me, intrigue me and puzzle me. They are great. Unrivalled. They are fearsome. The artists. I give them my voice and body.

choreography:

Andrzej Adamczak

performers:

Andrzej Adamczak, Katarzyna Rzetelska

music:

The Knife, Yazoo, Amon Tobin, Ellen Allien

costumes:

Mariusz Szmytkowski

lighting:

Mariusz Porada

Can we exist without the ego? How much does the ego help us to keep up the impression of inner continuity and integrity? How strong is our relation with the ego: is it possible for us to modify it and cooperate with it?

concept/direction/process work/light:

Sławomir Krawczyński

choreography:

Anna Godowska, Tomasz Wygoda

music:

"The Rite of Spring" by Igor Stravinsky performed by the New York Philharmonic, Leonard Bernstein conductor, 1958

costume concept:

Sławomir Krawczyński, Tomasz Wygoda, Anna Godowska

content-related consultancy:

Jadwiga Majewska

technical production:

Łukasz Kędzierski

production:

Art Stations Foundation by Grażyna Kulczyk

A new rendition of Igor Stravinsky’s great ballet – a solo performance travelling through Vaslav Nijinsky’s different states of mind. For the authors of the performance the legendary dancer and chorographer’s Diary and his works have become a book of daydreams scribbled down in haste. Analysing them, they would discover an internal world continuously verging on ecstasy and nothingness. The dramaturgy of this world is startlingly reflected in Stravinsky’s The Rite of Spring.

concept/directed by:

Katarzyna Pastuszak

choreography:

Katarzyna Pastuszak, Dorota Androsz (Teatr Wybrzeże actress)

consultation:

Dorota Androsz, Aleksandra Śliwińska, Anna Kalwajtys

performers:

Louise Fontain, Dorota Androsz, Barbara Szamotulska, Magdalena Jędra, Katarzyna Pastuszak, Anna Kalwajtys, Aleksandra Śliwińska, Nel Melon, Joanna Duda, Agnieszka Kamińska

written by:

Barbara Szamotulska, Louise Fontain, Katarzyna Pastuszak, Dorota Androsz

video:

Katarzyna Pastuszak, Louise Fontain, Anna Kalwajtys (montage)

music:

Joanna Duda

A performance project about women and their internal and external emigration. The project’s axis are tales of women who have lived most of their lives on the go and in a specific seclusion, like Nomads, without any permanent residence, feeling rootless. Revealing the difficult truth of their condition, the women regain their dignity and are born anew. The project aims to trigger a discussion on exile and highlight the extraordinary richness residing in what is commonly referred to as “otherness” and often stigmatised.

website of Teatr Amareya

choreography:

Urszula Bernat-Jałocha

performers:

Artur Bieńkowski, Adriana Cygankiewicz, Zbigniew Kocięba, Marcin Motyl, Josefine Patzelt

music:

Michel Legrand, Ben Frost, Andy Stott, Alva Noto & Ryuichi Sakamoto, Biosphere

music arrangement:

Zuzanna Majewska

costumes:

Adriana Cygankiewicz

lighting director:

Mariusz Porada

supported by:

Ewa Bernat

Western culture uses the term “gender” to describe the state of being male or female in the context of social and cultural differences rather than biological ones. The term is also used to talk about socially constructed attributes, behaviours, roles, and stereotypes that a given society considers appropriate for men and women. Drawing on these concepts, the piece presents the human being as an impersonal, androgynous matter comprising a body and its limitless possibilities.

performers:

Alma Toaspern, Kinga Jaczewska

produkction:

P.A.R.T.S

The piece is inspired by the format of a classical theatre and opera, following its own, specific ways of combining dance, text and music, and recklessly navigating between genres and categories such as theatre plays, lecture performances, dance pieces and visual art works. The performance unfolds in three parts which seem to contradict each other through their differences in quality and appearance. “Oh, Fellia!” aims to communicate by dismissing logic and language, ignoring the coherence of words and reflecting upon the common divergence of words and their attached actions.

choreography:

Maciej Prusak

performers:

Maciej Prusak, Piotr Łukaszczyk

dramaturgy:

Tomasz Cymerman

music:

Patrycja Hefczyńska

Two suit-clad men are standing on the stage, holding a wreath. They are back from their father’s funeral. Listening to the sound of music composed by Patrycka Hefczyńska and under the watchful eye of dramaturge Tomasz Cymerman, dance and choreographer Maćko Prusak and actor and director Piotr Łukaszczyk look carefully at their fathers, their fathers’ fathers, and themselves as future fathers. The piece uses words, movement and music to explore masculinity and the absence of elementary role models and authority figures.

choreography/performance:

Korina Kordova

artistic mentor :

Bush Hartshorn

music:

Dominik Strycharski

costume/scenography:

Sylwester Krupiński

technical realization:

Łukasz Kędzierski

production:

Art Stations Foundation by Grażyna Kulczyk

What was it? A meteorite or a visitation from outer space?
Whatever it was, in our small land it appeared.
Wounded by such encounter, we regretted never being able to disappear at will.
The catastrophe began with a dramatic collapse of the core and an expansion of the outer
regions. To form a giant. A supergiant.
On 8th boulevard, right after sinuous curves.
We sent in troops. No one returned. Gradually, the air supply gives out.
Absence persists. We must endure it.
We will manipulate it: transform the distortion of time into oscillation, disorientation.
Run, as fast as we can, to stay in the same place.

performers:

Marta Zawadzka, Adam Bartoszewicz, Tomasz Graczyk

music/stage design:

Adrian Jakuć - Łukaszewicz

production:

DanceOFFnia Studio Działań Kreatywnych

A look at the body in a peculiar situation: undergoing laboratory tests for its reactions to the reality, the behaviour of another human being, space, time and self. “Am I my body or do I have my body?” – the famous phenomenologist’s question was resounding at the back of the creators’ minds throughout the choreographic process. Three characters examine their bodies’ limits and the emotions they experience in relation to it.

directed by/choreography/stage design/texts:

Maciej Cierzniak

performers:

Barbara Ducka, Małgorzata Mazurkiewicz-Molak, Maciej Cierzniak, Sebastian Chwastecki, Karol Zdańkowski

visualizations:

Marek Chudziński

lighting:

Wojciech Nycz

sound:

Mirosław Wołoszyn

production:

The Entertainment Theatre in Chorzów

The project examines personality disorders and how they transform the way an individual thinks, feels and behaves, depending the his or her life style and adaptation strategy. Different personality disorders influence the dancers in their movements and dance. It is a story about the way an average man perceives, thinks, feels and interacts with others, told with movement and words.

choreography:

Nadar Rosano

performers:

Magdalena Radłowska, Szymon Osiński, Bartosz Figurski

The piece attempts to give rise to primeval, shapeless movement, devoid of any clear form and thus seemingly less beautiful, obvious and efficient. Are limitations, as a kind of restrictive, repressive power, a source of suffering, or can we turn our individual limitations into a creative drive that has the power to define us? The piece focuses on emotional reactions triggered by limitations.

choreography:

Robert Glumbek

performers:

Opera na Zamku ballet company: Żaneta Bagińska, Klaudia Batista, Karolina Cichy-Szromnik, Vladyslav Golovchuk, Jakub Gut, Christina Janusz, Maciej Jaskólski, Daryna Kołodziejczyk, Patryk Kowalski, Vasyl Kropyvnyi, Monika Marszałek, Stephanie Nabet, Kseniia Naumets-Snarska, Piotr Nowak, Olga Tatarcew, Paweł Wdówka, Maksim Yasinski, Aleksandra Zdebska

music:

Witold Lutosławski

stage design:

Katarzyna Meronk

costumes:

Tijana Jovanović

lighting:

Dawid Karolak

production:

Opera at the Castle, Szczecin

From the choreographer: "I left Poland over twenty years ago. I remember myself at the age of the dancers I now work with; I remember the fears and anxieties I experienced, as well as the dreams and hopes I had. While working on Pewnego razu – teraz I wanted to learn about the fears and hopes of the young people of today, to discover how their internal emotional landscape has changed.”

trailer "Pewnego razu - teraz"

directed by/choreography:

Agata Maszkiewicz

performers:

Agnieszka Dmochowska-Sławiec, Karen Lambeak Christensen

light/sound:

Vincent Tirmarche

producer:

AUTOMOBILE Assosiation/Agata Maszkiewicz

In DUEL two female performers will face each other in order to stage a series of confrontations. They will challenge each other as well as the audience playing with stereotyped images of fighting women. They will dare and be daring searching for nuances that turn a dispute into a duel, a game, a dance.

direction/choreography/scenography:

Eryk Makohon

music:

Marcin Żminkowski

performers:

Cracow Dance Theatre: Anna Chmiel-Kowalska, Monika Godek, Barbara Kopała, Bartek Kwapień, Paweł Łyskawa, Agata Syrek, Monika Świeca, Katarzyna Węglowska-Król, Marta Wołowiec, Katarzyna Żminkowska

scenography realisation:

Pracownia Ślusarska Roberta Calikowskiego

producer:

Nowohuckie Centrum Kultury, Cracow Dance Theatre Association

According to Deborah Anapol, you should let love shape your relationship instead of trying to force it into a shape that your mind sees appropriate. Life-long monogamy seems today a myth rather than a fact. The nuclear family, the elementary unit of many societies, became an endangered species. That is why today, more than ever, we need to discard instilled perceptions of love, sex, intimacy, and commitment, and replace them with a readiness to discover and accept all and any solutions that prove to be working …

choreography:

Viktor Davydiuk

music:

Ivan Armsgeymer

choreographer's assistant:

Gento Yoshimoto

performers:

Viktor Davydiuk, Ryunosuke Ishikawa, Maria Kielan, Marika Kucza, Gento Yoshimoto, Ichigo Oguro, Andrzej Płatek, Karolina Sierant, Mateusz Sierant, Taras Szczerban

A comic ballet in one-act drawing on Marius Patipa’s 1896 work of the same title, yet provided with a new libretto by Viktor Davydiuk. Using the technique of classical dance, the choreography tells a story of lovers’ hilarious adventures.

choreography:

Izabela Chlewińska

performers:

Izabela Chlewińska, Włodek Pawlik

music:

Jacek Grudzień

piano:

Włodek Pawlik

visuals:

Tomasz Bergmann

Preparation for Change is piece for piano, dancer and tape combining conceived by Izabela Chlewińska and Jacek Grudzień, who decided to create an autonomous work combining contemporary music composition and new choreography. This specific experiment and artistic challenge is held together by improvising pianist and all-around artist Włodek Pawlik, and visual artist Tomasz Bergmann.

choreography/directed by:

Kamil Wawrzuta

performers:

Natalia Dinges, Paulina Jóźwicka, Jan Lorys/Oskar Malinowski, Krystian Łysoń/Patryk Dursi, Paweł Zaufal

music:

Amon Tobin, Origamibiro, Aphex Twin, Balam Acab, Nine Inch Nails, Nils Frahm, Slow Dancin Society

stage design:

Anna Wojtecka

Profanum is a study of human psyche in crisis, harrowed by loneliness. Reminiscent of a playground from our childhood memories, it is now used to play cruel games, while carefree merrymaking of the past acquires sexual undertones. Violence becomes strangely unbelievable. Everybody in our playground is overcome by madness, as childhood dreams and longing for transcendence echo in the background. What will come of it all is up to each of us individually.

directed by:

Mikołaj Mikołajczyk

performers:

Mikołaj Mikołajczyk, Iwona Pasińska, Adam Ferency and members of singing ensemble „Wrzos”, Zakrzewo: Edmund Bindek, Urszula Chałubek, Jan Cieślik, Irena Czermak, Alicja Dąbek, Bogdan Dąbrowski, Danka Okońska, Janusz Okoński, Eugenia Płaczek, Łucja Podlewska, Jerzy Podlewski, Józefa Polak, Maria Trokowska, Jan Wojciechowski, Danuta Zdrenka

written by:

Małgorzata Dziewulska

music:

Zbigniew Kozub

stage design/video:

Mirek Kaczmarek

Wielkopolska: Revolutions program's curator:

Agata Siwiak

Projekt. Noce i dnie (Nights and Days Project) is Mikołaj Mikołajczyk’s another collaboration with Wrzos choir from Zakrzewo, a village in Poland’s region of Wielkopolska, coming to life as part of the programme Wielkopolska: Rewolucje (Wielkopolska: Revolutions).

This time older-age singers were challenged not only to get involved in movement theatre, but also to reflect on their own life story. In the process they were drawing inspiration from Maria Dabrowska’s Noce i dnie (Nights and Days), a 1930’s novel exploring life fulfilment and the lack of it. This unusual theatrical genre, which might be dubbed “participatory theatre”, has give rise to a common language between all involved. 

choreography/performance:

Mikołaj Mikołajczyk

dramaturgical cooperation:

Małgorzata Dziewulska

music:

Zbigniew Kozub

video installation:

Mirek Kaczmarek, Komuna/Warszawa

production:

Komuna//Warszawa

The piece was produced as part of komuna//warszawa’s RE//MIX series. It was devised as way to reminiscent about the Maestro but also to explore the choreographer’s own experiences and memories. Mikołajczyk begins this intimate tale of himself by going back to the beginnings of his work on stage and the emotions induced by his meeting with Tomaszewski. He then goes on to elaborate on his movement language, thus reaching out to the audience, getting them involved in his actions on stage.

performer:

Monika Wachowicz

co-founder of stage movement/direction/concept:

Marcin Herich

produced by:

Teatr A Part (Stowarzyszenie Teatralne A Part)

Monika Wachowicz’s drama project combining visual means of expression and movement, based on Marcin Herich’s concept and inspired by the writings and philosophy of existence of French author Michel Houellebecq. Aesthetically, it corresponds to postdramatic theatre.

webstite A PART Theatre

concept/performence:

Anna Steller

live music:

Adam Witkowski

video:

Maciek Salamon

In her performance, the artist refers to the events of her past and present trying to face up to them using a different perspective, to balance on the verge of the real and the superficial, to be in a trance and to be herself at the same time. She is inspired by the notion of “transportation” defined by cultural anthropologist Richard Schechner as the process in which one enters an emotion, is moved or touched by it, then “abandoned” in more or less the same place where one has taken off.

concept/directed by/choreogrphy:

Anna Piotrowska

performers:

Joanna Chitruszko, Anna Piotrowska

music, lighting:

Michał Mackiewicz

whisper:

Łukasz Pawłowski

text:

Anna Piotrowska, Łukasz Pawłowski

production:

Anna Piotrowska, Fundacja Rozwoju Tańca

In her second duo with Joanna Chitruszko, Piotrowska looks into the doctrine of hedonism as proclaimed by Greek philosopher Aristippus of Cyrene, exploring the territory that lies between pleasure and unpleasantness. Pleasure and unpleasantness are specific states, a kind of movement happening within a human being, and thus serving as evidence of his or her being active. People constantly oscillate between pleasure and unpleasantness. The piece investigates these two states, or rather everything that may happen between them.

idea/concept/directed by/choreography:

Sławek Bendrat oraz Dominik Krawiecki

performers:

Marek Wieczorek, Martin Knoll, Giuliano Guerrini, Sławek Bendrat, Dominik Krawiecki,Tomek Pomersbach

producer:

Pink Mama Theatre Sławek Bendrat

The Ship of Fools is sailing to America. Among her many passengers, there is the prominent philosopher, Immanuel Kant, travelling with Psittacus Erithacus and Tadzio (Teddy), a boy companion. Psittacus Erithacus (gray parrot) is Kant’s confidant and his alter ego. All the philosopher’s theories, thoughts, fears and phobias are contained in Psittacus’ head. The play’s symbolism sends the post-Kantian world spiralling towards archaic deposits of collective imagination and occultist rites. The piece uses the convention of dance theatre.

more about Pink Mama Theatre

concept/directing/choreography:

Joanna Czajkowska, Jacek Krawczyk

choreographic consultants and dancers:

Magda Wójcik, Barbara Pędzich, Dorota Zielińska, Joanna Nadrowska, Joanna Czajkowska, Jacek Krawczyk

music:

Mariusz Noskowiak

costumes:

Agnieszka Puławska

lighting design:

Artur Aponowicz

scenography:

Artur Gołdys and Piotr Czajkowski according to the project of Jacek Krawczyk

The two-part piece tells the story of the quest for understanding and accepting oneself and the world around that every person and every artist must make. The first part, inspired by Franz Kafka, is dark and dynamic; the second – seemingly more light-hearted, draws on Henri Toulouse-Lautrec. While Kafka devoted his literary endeavours to reflections on how an individual is determined by the society and to our inability to achieve full humanity, the French painter would freeze people and atmosphere of an artistic community in a frame to praise life and its everyday facet. Both could spot a detail, a moment, the fugitive aspect of reality.

trailer Puste Ciało. Okazja do malutkiej rozpaczy.

choreography:

Magdalena Skowron

performers:

Magdalena Skowron, Wojciech Skowron

music:

Colin Mclean, Andy Moor

lighting:

Sebastian Molski

support and supervision:

Małgorzata Haduch

The performance sets off from a place where words cannot express anything anymore and you are left with other means of expression. Dance and music is what the creators choose. It is a tale of a woman experiencing a loss and of a man and his reaction. He is expected to be her rock, but is ravaged by powerful emotions himself. It is a tale of a loss, of buried hope, but also of intimacy and lasting which may save life.

choreography/directed by:

Jacek Owczarek

choreographic consultants:

Dawid Lorenc

performers:

Joanna Jaworska, Aleksandra Klimiuk, Ula Parol, Aneta Jankowska, Paweł Grala, Wojciech Łaba

music:

Wojciech Łaba 'LA3A'

costumes:

Zuzanna Markiewicz

The piece owes its shape and structure to the original method of working with dancers that was employed to produce it. Based on improvisation and body awareness when interacting with another person, the method is unique as it reverses the flow of the creative process, rejecting the idea of planned, expected outcomes. What underlies the piece are mutual reactions of the characters on stage. Observation of the processes that each of the six improvising dancers undergo resulted in exploration of the characters and physical material. They were then juxtaposed with each other to provoke unpredictable developments.

choreography:

Maciej Kuźmiński

dramaturgy:

Adam Hypki

performers:

Daniela Komędera, Ania Kamińska, Kasia Pawłowska, Dominika Wiak

Room 40 tires to translate existential reflection into choreography. Using the state of tiredness, Maciej Kuźmiński showcases dancers’ virtuosity, and casts a critical eye at tradition, undermining established theatrical conventions. Balancing between forms, the piece is both provocative and moving.

choreography/performer:

Magdalena Jędra

From the choreographer: It all began with my April residency stay in Lublin, when I started working on my solo. I decided to marvel at the reality and to separate myself from everything that is its virtual image. My second go at the topic was not a simple continuation, however. The world is going faster and faster all the time, accelerated by the virtual circulation of thoughts, which no longer thrive in cafés and bars. The text is meant to be a generous portion of wise thoughts, freezed in advance in movement and image. Error Basta! System Failure! Page Under Construction. Sorry for any inconvenience.

choreography/performers:

Małgorzata Mielech, Zofia Jakubiec

music:

Collage

costumes/lighting:

DanceLab

production:

DanceLab

The piece’s leading motif is “sababa”, the Hebrew word signifying the state of wellbeing, lightness, distance, and openness. The choreography is mostly structured upon contrasts between explosions of cumulated energy and harmony of movement. The creators attempt to dialogue with the audience by sharing their fascination for physical representation of the imagined and the way how fantasy determines movement.

directed by/concept:

Sjoerd Vreugdenhil

choreography:

Sjoerd Vreugdenhil in close collaboration with the dancers

performers:

Urszula Bernat-Jałocha, Agnieszka Kryst, Ramona Nagabczyńska, Janusz Orlik, Kasia Sitarz, Tomek Pomersbach , Paweł Sakowicz

music:

Szymon Brzóska

musicians:

Barbara Drążkiewicz, Emilia Goch

electronic music:

Kiriakos Spirou

kostumes/stage design:

Agata Birek, Maja Barańska, Klaudia Filipiak, Julia Grabowska, Kinga Korbalewska, Sławek Krzyżak

lighting:

Sjoerd Vreugdenhil

production:

Art Stations Foundation by Grażyna Kulczyk

thanks to:

Jola Starzak, Dawid Strebicki, Wojtek Dziecic, Agnieszka Jacobson-Cielecka for the opportunity to work with School of Form

The world is spinning breathlessly and we spin with it pestered by a longing for change. Stranded between the past and the future, between memories and dreams, between what is ours and what is collective, certain of our uniqueness, driven by desires, loaded down with the baggage of experiences, limited by others and by ourselves, yet trusting in our free will, we set out on a journey into the unknown and travel meandering pathways delimited long before us. Day after day we confront ourselves with others, attempting to define our own individuality by building narratives and self-narratives that help us nurture the myth of our own uniqueness.

concept/choreography:

Kaya Kołodziejczyk

costumes:

Grzegorz Matląg – MALDOROR

original composition:

Daniel Radtke

music performers:

Daniel Radtke, Paweł Postaremczak

lights design:

Herman Venderickx

space arrangement:

Magdalena Fela Jaszczuk

"S.O.L." is the acronym for "Shit Out of Luck", an expression describing a situation with no way out, a state of having no other solutions than those unwished for.
Sol is also the Latin word for the sun, the name of the Nordic goddess of the Sun, as the name of the G sound or the duration of a solar day on Mars.
SOL is the title of an original solo performance which was born out of reflection on the objective of movement, the message that performance art brings to the art of today and an attempt to take a critical look at tendencies occurring several years after the postmodern dance revolution.

choreography/performer:

Anna Steller

production:

Teatr Maat Projekt, Maat Festival, the Centre of Culture in Lublin

Expressing emotions through the body – here is a clichéd phrase which can be easily applied to any production whatsoever in which someone is experiencing some emotion when dancing. Unable to give it a new definition, once again I am gathering my courage to experience “something” on stage and to share this “thing” with the audience. In order to evoke a variety of emotional states in myself, I will use Sara Kane’s Crave, a text that conveys an unnerving trauma of rejected love, a biblical parable of love and acute helplessness of loneliness.

concept/choreogphy/direction/text:

Justyna Jasłowska

performers:

Justyna Jasłowska, Zofia Jasłowska, Zofia Bernad

costumes:

Magdalena Franczak

video/sound/technical realization:

Maciej Połynko

appeared in the video:

Zofia Jasłowska

lighting:

Justyna Jasłowska, Maciej Połynko,

singing/dubbing:

Zofia Bernad

choreographic and dramatic consultation:

Elisabetta Consonni

production:

The Centre for Culture in Lublin, Lublin Dance Theatre, Ticketforlooser

Implemented under scholarship from the Ministry of Culture and National Heritage

The piece fuses dance, performance, and visual arts. It is a story a transformation told with songs, audio techniques, videos, dubbing, and analogue family photos. The production calls into question the understanding of the performer’s body and voice as the main media of artistic expression. The characters remain in a state of continuous exchange, continuing an indistinct dialogue based mainly on mutual imitation, rivalry, and watchful observation. Two parallel stories make it impossible to call winners or losers.

directed by:

Michał Ratajski

movement:

Adrian Bartczak

lyrics:

Małgorzata Lipczyńska

performers:

KIJO Group: Michał Ratajski, Adrian Bartczak, Małgorzata Lipczyńska, Ilona Gumowska, Sara Kozłowska, Ela Stasiak

music:

Radek Stępniak

stage desigh:

Ula Pociecha

costumes:

Zuzanna Markiewicz

It’s about people that care for dance, whatever it is, whoever they are. It’s about a group of people who decided to persist in dancing. About people as different as ambiguous dance can sometimes be. In spite of their differences: in experience, age, character, motivations, body construction and capabilities, the arrangement of brain cells, visible and invisible scars, in spite of it all. It’s about Us.

Website of KIJO Group

performers:

Florentina Holzinger, Marta Ziółek

supported by:

Katarzyna Szugajew, Bruno Listopad

I.
“It should be beautiful, aesthetic, and without any justification.”
– Alejandoro Jodorowsky, Psychomagic
The love of acts calls for the creation of objects. The stick was an object we got quickly infatuated with and whose charm overcame us. We saw the stick primarily as a magical object that kept evading us. From the moment we took hold of the stick with our hands, and followed their movement, dancing, the stick took on an independent life. We assisted the development of a peculiar personality; the stick started to use our bodies, hands, and voices, to finally acquire its own identity. Our job was to serve rather than to create.
II.
STICK is a choreographic contract between two performers, a contract under which a simple object like a stick functions as an instrument of transformation and manipulation.

concept:

Harakiri Farmers

choreography:

Dominika Knapik (in collaboration with the dancers)

directed by:

Wojtek Klimczyk

dramaturgy:

Wojtek Klimczyk, Iga Gańczarczyk

performers:

Dominika Knapik, Przemysław Kamiński, Mikołaj Karczewski, Natalia Wilk

music:

Aleksandra Gryka (performed by Kwartet Cztery Czwarte: Karolina Szymbara, Marta Rychlik, Zuzanna Iwańska, Agnieszka Majchrzyk)

The term “utopia” brings about associations with noble naïvety and dreams of a better world. On the other hand, utopian thinking has led to tragic consequences on many occasions. Seen in this way, utopia as a notion reflects a more general question present in today’s culture, namely how social improvements should be approached without recourse to violence. Perhaps we should start with the body and reflect on how utopian projects affect it. What happens to the human body in a highly utopian environment?

website of Harakiri Farmers

choreography/directed by/performers:

Krzysztof Dziemaszkiewicz, Anna Steller

The piece is inspired by Sarah Kane’s play Blasted. Two people locked in a hotel room in a wartime town are trying to get closer together, make contact with one another. Each of the performers operates in a strictly delimited space, trying to find a place for him/her, while respecting or consciously ignoring the needs of the other person. This way the dancers reminiscence on their long-lasting cooperation based both on compromise and enormous risk. The titular “danger zone” is the place where the performers’ energy cumulates, the space where lines are blurred, where anything may happen.

choreography/stage design/costumes:

Agnieszka Fertała

performers:

Agata Ambrozińska-Rachuta, Agnieszka Fertała, Daniel Stryjecki

music:

Ondekoza, Nigakute Amai Mizu, Umekichi, tradycyjna muzyka japońska

lighting:

Mariusz Porada

A classic ring is replaced by a stage where dancers, reminiscent of sumo wrestlers, struggle against unfavourable fate, trying to play “fair” although they are constantly revisited by an irresistible desire to do something ignoble. Who will lose it first? What will the referee do? How will the audience react?

choreography/performers:

Magdalena Ptasznik

drmaturgy/conceptual cooperation:

Eleonora Zdebiak

production manager and technical realization:

Łukasz Kędzierski

produced by:

Art Stations Foundation by Grażyna Kulczyk

Verging on choreography and visual arts, the performance focuses on matter, drawing our attention to the elements that are directly available to human perception: objects’ surfaces, bodies, space. Surfing is about working with physical engagement in actions; exploring what an action may activate in an object and what the object’s (re)action may activate in the space and body. We are interested to investigate the constructions and networks of such activations taking place at a purely physical level, through encounters of and spatial relations between surfaces.

choreography/performers:

Joanna Miś-Fudali, Marta Pańka

Maybe it’s something you can’t discuss aloud? Maybe something you don’t want to discuss at all? Or maybe you have to whisper to be heard ...?

choreography:

Bartek Woszczyński, Joanna Woszczyńska

performers:

Bartek Woszczyński (solist) and dancers of Alternative Dance Theatre LUZ: Marta Nawrocka, Urszula Jasnowska, Natalia Wielgórska, Dominika Mańkowska, Karolina Cabaj, Karolina Długołęcka, Oliwia Kruczyńska, Alicja Pogorzelska, Aleksandra Michalik, Justyna Maciak, Dawid Zdzieborski

stage design/costumes:

Joanna Woszczyńska

light's director:

Artur Wytrykus, Artur Klepacki

sound's director:

Jan Jakub Mularzuk

music by:

Olafur Arnalds, solo etude: Kamil Szafraniec

the piece features texts written by:

Bartek Woszczyński, Joanna Woszczyńska, Jan Jakub Mularzuk

The piece brings together contemporary dance and black-and-white film. Constructed as a retrospection narrated by the protagonist, it explores feelings, emotions and a childhood that never was. It is a tale of lack of love, abandonment and guilt. It presents a world of incessantly conflicting values, seen through the bottle and swirling to the sound of drinking glass.

texts:

Grzegorz Laszuk, Michał Libera


performers:

Ramona Nagabczyńska, Weronika Pelczyńska, Iza Szostak, Konrad Jan Szymański

music:

DJ Lenar, Olga Mysłowska

singing:

Olga Mysłowska

technology, projection, programming:

Tomasz Ebert, Wojciech Ziniewicz, Adrien Cognac


lighting:

Karolina Gębska


costumes:

Ewelina Ciuchta


collaboration/inspiration:

Maciek Ostaszewski

production:

Komuna// Warszawa

A post-modern Gesamtkunstwerk. Lew Theremin as an epitome of universal truth and bottomless illusion. A distant story attired in new technologies and a monumental metaphor of contemporary world. Some singing, a lecture, a tale, a concert, some dance and technologies, all looped in reflections of distorting mirrors.

choreography/performance:

Agata Siniarska

artistic mentor:

Bush Hartshorn

technical realization and lights:

Łukasz Kędzierski

production:

Art Stations Foundation by Grażyna Kulczyk

this solo is happening 24 frames per second/ like in a real movie/ this solo is in chapters/ this solo is dramatic but good looking/ this solo stands, sits, lies down with wild mouth open/ this solo applies many names: mulvey, akerman, de lauretis, butler, tyler, silverman, kuhn, deleuze, fraser, doane, jelinek, kwiatkowska, karina, godard, vitti, antonioni, bardot, shermann, chytilova, illouz, halberstam, jones, pollock, german, moreau, radkiewicz, creed, potter, modleski, herden, fassbinder/ this solo has never heard about agata siniarska/

concept, directed by, choreography:

Anna Piotrowska

performers:

final year students of The Dance Theatre Department in Bytom, The Ludwik Solski State Drama School in Cracow: Katarzyna Antoń, Karolina Gibowska, Daria Jakubik, Agnieszka Jania, Olga Korcz, Marta Termena, Angelika Tomasiak, Agafia Wieliczko, Joanna Wydra, Kamil Bończyk, Wojciech Chowaniec, Szymon Dobosik, Adrian Koszewski, Krzysztof Nowakowski, Jan Lorys, Stanisław Iwanicki, Tomek Urbański, Piotr Wach, Jarek Widuch, Mateusz Wojtasiński, Filip Wójcik

music:

Michał Mackiewicz

photos:

Dominik Więcek

video,trailer:

Tomek Berek

scenography:

Agata Smolich

costumes:

Justyna Spaleniak

graphic,webdesign:

Stanisław Sarnecki

make up:

Anna Koralewska

production:

The Ludwik Solski State Drama School in Cracow, The Dance Theatre Department in Bytom

coproduction:

eferte Fundacja Rozwoju Tańca

coordination PWST WTT:

Julia Bromberek

cooperation:

Policealna Szkoła Charakteryzacji i Makijażu FAM

editorial cooperation:

RMF CLASSIC

media partners:

Tygodnik Powrzechny, Wydawnictwo Znak, TVS

This graduation performance by final year students of the Dance Theatre Department in Bytom is a fantasy inspired by Jerzy Nowosielski’s paintings. Fascination with his works is clear to see when you look at the piece’s clear division into female and male performers or its attempt to present gender features as social and cultural sex roles that clash in trans (a different state of mind). The choreographer was interested in relations between a painting and the experience of abstract theatre, which overflows with ambiguity.

website: www.transdyptyk.com

choreography:

Helena Ganjalyan

performers:

Helena Ganjalyan, Korina Kordova

composer:

Michał Mackiewicz

costumes:

Helena Ganjalyan

remix:

Ann van den Broek

The piece focuses on women’s identification with masculine mentality and masculine way of life. What does “feminine” and “masculine” energy actually signify? Une femme masculine is a multilayered game with DOMINATION at stake. It offers a glimpse of those who act out their power over and over again. Meandering between terms such as “provocation” and “shame”, the piece does not ask “who am I?” but “who would I like to be?” or “who am I afraid to become?”.

trailer Une femme masculine

creation:

Irad Mazliah, Zbigniew Szumski

performer:

Irad Mazliah

video:

Jacek Złoczkowski

costumes:

Sylwester Krupiński

graphics:

Stachu Szumski

The piece is a solo performed by Irad Mazliah, dancer and choreographer of Israeli origin, who invited director and choreographer Zbigniew Szumski to take part in the creative process. The outcome is a tale of individuality and of a delicate character struggling against an aggressive force. The solo is infused with the dancer’s intense physicality. The audience is invited to take an active part in shaping the dancer’s experience and drafting new chapters of his journey.

The Beauty of Life

concept/choreography:

Karolina Garbacik

music:

Natasza Topor, BezRóżuAniRusz

stage design/costumes:

Anna Wojtecka

multimedia/instalation:

Paweł Dudko

creation/performers:

Julia Dondziło, Alicja Gościewska, Olga Skvortsova, Adam Bartoszewicz, Santiago Bello, Kamil Wawrzuta

production:

Podlaskie Stowarzyszenie Tańca

You are young, have your dreams and plans ... And the certainty that it is possible to change the world. And then something unexpected happens, turning your life upside down. What is the beauty of life? Being eternally healthy, active and successful? Or existing in spite of events that shatter the dreams and plans you had only a moment ago? The performance draws inspiration from the volatile history of a Polish film star of the interwar period, Nora Ney.

choreography:

Andrzej Adamczak

performers:

Urszula Bernat-Jałocha, Artur Bieńkowski, Paulina Jaksim, Zbigniew Kocięba, Kornelia Lech, Marcin Motyl, Tomasz Pomersbach, Paulina Wycichowska

music:

Iwo Borkowicz

costumes:

Mariusz Szmytkowski

lighting director:

Andrzej Adamczak

The piece explores mechanisms controlling our decision-making in crucial moments of our lives when our future and place in the society are irreversibly decided. It aims to show the changes that an individual undergoes when confronted with a group and when radically opposite instincts, such as fear of alienation or being afraid of close relationships, reveal themselves side by side.

choreography:

Maciej Sado

performers:

Maciej Sado, Juan Pablo Cámara

The piece is a variation on the concept of the uncanny introduced by Ernst Jentsh and developed by Sigmund Freud. It is a palindrome, as the title suggests, and may by reproduced in ether forward or reverse direction. Inspired by film-making, the piece submerges the audience in the atmosphere of “Sunday afternoon”. The apparent normalcy of the initial scenes transforms into a vaguely tangible, but strongly perceptible, dissonance between the original impression and the actual facts.

choreography:

Shi Pratt

performers:

Małgorzata Mielech, Zofia Jakubiec

music:

Collage

costumes:

Shi Pratt & DanceLab

lighting:

Kyrre Heldal-Karlsen

production:

DanceLab

Among the phenomena that construct our experience are mirror neurons. Located in the part of our brains responsible for emotion control, the cells play an important role in the process of building interpersonal relations. They are active when watching another person we automatically copy his or her body motions. By their agency individuals become closer, develop intimacy. The piece investigates the process of building and breaking bonds, developing intimacy with another human being, showing an effective path to make become closer with one another.

performer:

Marysia Zimpel

supported by:

Ria Higler

The solo has the dancer working with two movement patterns which interlace to develop into a choreography. A concrete structure is first built only to be deserted a few moment later. The piece is both a formal study of movement forces and directions and an idiosyncratic dance verging on abstract autobiography.

choreography/dance:

Tomasz Bazan, Anita Wach, Anna Steller, Jan Borecki

director:

Tomasz Bazan

music:

Jan Duszyński

design:

Patrycja Płatnik

production/collaboration:

Maciej Połynko

producer:

Zamek Culture Center, programme: the Archive of the Body, Maat Project Theatre, Maat Festival, the Centre of Culture in Lublin, the Museum of Wola in Warsaw, Cricoteka Centre for the Documentation of the Art of Tadeusz Kantor

Safari is a hunting trip, possibly also a longer journey in the search for trophies. Currently, with the development of global tourism, the term is more and more frequently used to describe organised observation of predators moving around in their natural ecosystem. There are two enclosures: one exposes the animals to constant observation, while the other creates an illusion of natural ecosystem. Is the possibility to make a conscious decision to change enclosures a chance to win a trophy? What is the trophy?

choreography and direction:

Teatr Dada

performers:

Katarzyna Chmielewska, Anna Steller, Leszek Bzdyl

interior design:

Michał Kołodziej

costume archaeologist:

Magda Bem

multimedia assistance:

Maciej Salamon

music:

iTunes and Adam Witkowski

production:

Teatr Dada von Bzdülöw

It’s 2044. Janina, Jan and Janka start their work on an experimental documentary. In one of the rooms of a well-preserved theatre museum they use ancient technologies (MacBookPro, multimedia projector, etc.), costumes (Milan Fashion Week 2013) and emotions (cinema, dance, theatre of the early 21st century), Janina, Jan and Janka try to play out SOMETHING that used to be THIS THING. The documentary experiment is supported and inspired by the philosophy of Return and Acceptance of Wilhelm Guido.

website of Teatr Dada