Młodzi w sieci

Stary Teatr w Krakowie Młodzi w Starym online 20 kwietnia – 6 czerwca 2020 Teatr im. Jana Kochanowskiego w Opolu Modelatornia maj 202

Circles and Other Closed Figures

Teatr Ludowy w Krakowie Witold Gombrowicz Iwona, księżniczka Burgunda reżyseria: Cezary Tomaszewski, dramaturgia: Aldona Kopkiewicz, scenografia: Bracia (Agnieszka Klepacka, Maciej Chorąży), światło: Jędrzej Jęcikowski premiera: 6 czerwca 202

Factory 3

Zuzanna Berendt writes of the installation Live Factory 2: Warhol by Lupa at the MOCAK Museum of Contemporary Art in Krakow (opening: 14.03.2016), which takes the set design used in the play Factory 2, directed by Krystian Lupa (Stary Theater in Krakow) into the permanent exhibition. The author focuses on the consequences of adapting the theater space to the conditions of the gallery, with particular attention to where the set design has been changed to fit the principles of the museum. Berendt also writes of the opening as a moment when the actors who had once created a fantasia on the theme of Andy Warhol’s New York Factory entered the space of the set in costume for the last time

Multiple natures of performance. The need to transgress the aesthetics of performance in new dance research

This article suggests that the already classic paradigm of research in performing arts – developed by Erika Fischer-Lichte in The Transformative Power of Performance: A New Aesthetics – needs reconsidering, with a particular focus on new dance and chorography. This proposal results from the recent hybridisation of performing arts, inclusion of discursive content in performances on a par with choreography, and the changed position of the viewer in new dance performances. An analysis is offered of Druga natura (Second Nature), a dance performance by Karolina Grzywnowicz (visual artist) and Agata Siniarska (choreographer and performer), which takes place within the space of an artistic installation. A broader perspective is adopted which includes a discussion of the institutional (production and operation) and aesthetic conditions for new dance in Poland. The characteristics of the performance’s contexts (modern dance aesthetics, Pola Nireńska’s biography, the history of the Holocaust in the dance community) are analysed alongside the viewer’s experience designed as a multi-sensory and intellectual experience

Stranger Things

Wrocławski Teatr Współczesny Leonora Carrington Trąbka do słuchania przekład: Maryna Ochab, reżyseria: Weronika Szczawińska, adaptacja, dramaturgia, współpraca reżyserska, opracowanie muzyczne: Piotr Wawer jr, scenografia, kostiumy, światło: Marta Szypulska, kompozycje, aranżacje: Julia Gadzina, choreografia: Alicja Czyczel premiera: 22 kwietnia 202

Weaker images of polish transformation

Teatr Nowy Proxima w Krakowie VHS – Visual Homemade Stories reżyseria i dramaturgia: Klaudia Hartung-Wójciak, muzyka: Piotr Peszat, przygotowanie wokalne: Małgorzata Biela, reżyseria światła: Jędrzej Jęcikowski, światło: Wojciech Kiwacz, dźwięk: Grzegorz Janeczek premiera: 29 listopada 202

The blood sport fad

Reviewing Michał Zadara's Orestes (CENTRALA, Zachęta Narodowa Galeria Sztuki, prem.:27 Aug 2016), Zuzanna Berendt analyses the way in which the director plays with the convention of ancient theatre. She shows how the creators translate the structure of the ancient text, including rhetorical monologues and witness testimony, into the present mediatisation of social and political life. The author also writes about the space in which the performance was presented - the room at the Zachęta Gallery, where president Gabriel Narutowicz was assassinated in 1922. Berendt is critical towards the inclusion of present and historical political context, here referred to only through events accompanying the performance and its advertising campaign in the media

The salon of the rejected

Zuzanna Berendt writes of the Aristocrats project by Łukasz Chotkowski, Magda Hueckel, Tomasz Śliwiński, and Stefan Węgłowski (Komuna// Warszawa,premiere: 7,8.11.2015). The author provides outlines of the protagonists of the diptych, Krzysztof Niemczyk and Małga Kubiak, pondering the consequences of the presentation of such colorful and diverse figures within a single series. She analyzes the evening devoted to Niemczyk, focusing on the re-performances of the artist's projects in a gallery setting, and the construction of a narrative about him by the creators of the project. She sees Małga Kubiak's performance combined with a screening of her films and a drag queen performance as a multi-level statement on physicality, a theme which is ever-present in the artist's work

Seeming Landscapes

Studio Hrdinů w Pradze Fatamorgana choreografia, kostiumy: Paweł Sakowicz, współpraca dramaturgiczna: Jan Horák, scenografia: Valentýna Janů, muzyka: Agnė Matulevičiūtė, reżyseria światła: Václav Hruška premiera: 17 czerwca 202