| Theatre Cinema: The Dancing Body |
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7, 14, 21 May, 4, 11, 18 June 2014 Cinema Room Admission free Wed 7 May, 7pm Dances Without a Name: NO*20 Screening of a performance by Arka Dance Theatre Directed, choreographed by Jacek Gębura; performed by Jacek Gębura, Maćko Prusak and Piotr Stawiński; 29 minutes The series Dance Without a Name emerged from Arka Dance Theatre’s reflection and research on dance theatre and its sources. In 2005–2006 the company created six pieces in a process involving no explanatory descriptions or programmes.  Wed 14 May, 7pm The Nut. The Squirrel Screening of a performance by Koncentrat Artistic Group Concept, choreography by Rafał Dziemidok; performed by Piotr Chudzicki, Rafał Dziemidok, Magdalena Jędra, Agnieszka Noster, Krzysztof Skolimowski and Karol Tymiński; co-choreographed by Jacek Owczarek; light, scenic space and costumes by Ewa Garniec; music by Piotr Czajkowski and Alexander Balanescu; produced by Art Stations Foundation (Poznań), Teatr Wielki (Poznań), Teatr Wytwórnia (Warsaw) and Staromiejski Dom Kultury (Warsaw); premiered on 25 August 2010; 49 minutes It might seem incredible, but the piece was first conceived as a duet. Searching for a content, format, essence, for what it could and could not be on stage, we started exploring the fantastically rich tradition of classical ballet and, within it, the incredible world of The Nutcracker, a ballet icon. The idea of a duet had to give way to the idea of the monumental ritual of The Nutcracker – both the ritual of its performance and of seeing it on stage. The Nutcracker is the most popular ballet of all time, even more than The Swan Lake (also by Tchaikovsky). Usually performed around Christmas to full opera houses all over the world, it tells the story of Christmas eve at a bourgeois home and of a journey through the magic world of sweets, fairies, dancing flowers and snowflakes. The story (libretto) differs – sometimes fundamentally – from production to production. As it turns out, in the ballet world the story and characters can be adapted quite freely, but there is little leeway in interpreting dance and music, woven together in an inseparable union. This approach is different from contemporary dance practice, which is extremely refreshing, but poses a specific challenge. The Nut. The Squirrel is the result of rising up to this challenge. Christmas atmosphere, Christmas eve, fairy-tale-like journey and the duet of dance and music are all ideas and topics we explored. In our creative process we focused on the following questions: What kind of atmosphere? What kind of Christmas eve? What kind of music and dance? Who is the squirrel and who is the nut? (The final question concerns the power of gender as manifested in ballet dress.) We finally arrived at a dance and vision of Christmas different from the classic one, but perhaps closer to the audience’s experience.  Wed 21 May, 7pm Stand By Dance film directed by Natasza Ziółkowska-Kurczuk Directed and written by Natasza Ziółkowska-Kurczuk; starring the dancers of Lublin Dance Theatre Beata Mysiak, Anna Żak, Ryszard Kalinowski and Wojciech Kaproń in collaboration with Karen Foss Quiet Works and Nanohach; choreography by Karen Foss; music by Jǿrgen Knudsen; visuals by Alan Lucien Øyen; photography by Tomasz Michałowski; cameras by Jacek Grzelak and Dariusz Piłat; sound by Andrzej Jarski; edited by Zbigniew Gustaw; produced by TVP Lublin and the Centre for Culture in Lublin, 2011; 52 minutes Inspired by Gracerunners, a dance piece created by Norwegian choreographer Karen Foss, Standby explores the dancer’s “existence” on stage and, more generally, human existence in the world. The lines “I’m tired” and “I’m ready” spoken during the performance apply to everybody’s life. Hence the key motifs in the film: the running and the sudden stops and slowing that reflect our struggle with human limitations, also physical ones, and the dancer’s struggle with the choreography, space, their own body and fatigue. The narrative is developed through sequences which are quite independent of the choreography and music. There is a lot of physical improvisation underscored by a gritty, unpredictable space with outstanding visual appeal. The dancers struggle with its offbeat charm. Arranged in an abstract sequence according to different tensions and moods, the scenes build to a climax, then a release.  Wed 4 June, 7pm Forest Dance Screening of a performance by Chorea Theatre and Limen Theatre Directed, written, choreographed and light designed by Kan Katsura; music by Tomasz Rodowicz and Chorea Theatre; performed by Beata Ciecierska-Zajdel, Gabriella Daris, Wioletta Gwóźdź, Sylwia Hanff, Małgorzata Lipczyńska, Floriana Lombardo, Ofelia Śliwa, Elina Toneva, Iwona Wojnicka, Adam Biedrzycki, Hubert Domański, Krzysztof Jerzak, Paweł Korbus, Maciej Maciaszek, Massimo Pierani and Łukasz Wójcicki; premiered on 11 September 2006, 88 minutes Forest Dance integrates butoh choreography by Japanese artist Kan Katsura with Greek songs performed by Chorea Theatre. Although separated by different aesthetics, butoh and Chorea Theatre share a similar attitude to the actor-dancer. Butoh strives for “absolute presence” resulting from a kind of mind-body unity, while Chorea Theatre takes inspiration from the classical unity of words, dance and music. The joint project of Limen Theatre, Chorea Theatre and Kan Katsura is another proof that the theatre may be the last redoubt of direct, close contact with other human beings. It also demonstrates mutual understanding across cultural boundaries, and proves that the body and voice can facilitate cross-cultural artistic dialogue.  Wed 11 June, 7pm Nijinsky, the God Screening of a performance by Wierszalin Theatre Directed and written by Piotr Tomaszuk; performed by Rafał Gąsowski, Katarzyna Siergiej, Dariusz Matys, Paula Czarnecka and Miłosz Pietruski; set design by Eva Farkasova and Jano Zavarski; music by Piotr Nazaruk; premiered on 29 September 2006; 103 minutes “Diaghilev is dead...” These are the opening words of Nijinsky, the God. A bizarre panikhida begins in a deserted chapel in the lunatic asylum in Kreutzlingen. Vaslav Nijinsky celebrates a memorial service in honour of his impresario and lover. He has learned that Sergei Diaghilev, the famous founder of the Ballets Russes, had just died in Venice. Nijinsky once promised: “Seryoga, I will dance on your grave”. And this he does, pouring out blessings on his followers – a group of patients taking part in this astonishing ritual. Nijinsky performs a succession of parts from Petrushka, L’après-midi d'un faune and The Rite of Spring. He makes a confession of his life and descends further and further into madness. In an act of self-exposure and remorse, we see a great sinner, haughty actor, shaman and priest capable of portraying his own redemptive death on the cross. The play is inspired by Nijinsky’s shocking Diaries written written in the six weeks between the dancer’s last performance and his incarceration in a mental hospital.  Wed 18 June, 7pm Roosters, Badgers and Other Goats Screening of a performance by Chorea Theatre Directed by Iga Załęczna; performed by Joanna Chmielecka, Julia Jakubowska, Małgorzata Lipczyńska, Katarzyna Pękała, Iga Załęczna, Janusz Adam Biedrzycki, Tomasz Ciesielski and Mateusz Łapka; choreography by Iga Załęczna and Janusz Adam Biedrzycki; music by Tomasz Krzyżanowski, Maciej Maciaszek and Jakub Pałys; light, sound by Tomasz Krukowski, 37 minutes Roosters, Badgers and Other Goats marks another stage of Chorea Theatre’s research into classical Greek physical movement. The piece is informed by theoretical research in the anthropology of dance which has become a part of the creative process. The cultural heritage of Ancient Greece, with its legacy of physical movement, opens a space for artistic research, creativity and expression.  |