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DOUBLE BILL SCHEME

the project for Perform Europe


THE LIST OF PERFORMANCES

From Croatia

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REM  

Oscillating between reality and illusion, dreams are allegories of the subconscious created by automatic processing of information. While we sleep, we dream. We live these parallel lives. The disparity of the paralysed, sleeping body in waking life and the “aliveness” of sleep creates a simulacrum of wakefulness. Layeredness becomes a source of inspiration.

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    The mechanism of dreams introduces us to a world of exploring our mind, shows us, teaches us, suggests and immerses us in symbolic motifs, transforming the rootedness of archetypal features, and constructing the meanings we have rooted in rhythmicity, repetitions, porousness of vocabulary, and the interrelations of gaze, body and movement. By creating awareness and deciphering dreams, we used the dancing body as an experimenter of the changeability of meanings. Motifs of alternative realities, hallucinations and eerie and unnatural matter inhabit the language of our dreams, which we have transposed into fluid images, precise corporeal compositions and focused states. Using parasomnia, lucid dreams and a distorted sense of time and space, we connect our own dreams, evoke sensations, memories, ideas and emotions, allowing the audience to reach their own and unique interpretations of the events onstage.


Choreography: Ida JolićIn collaboration with performers: Tea Hlušička, Nataša Kustura, Linda Tarnovski and Mia ZalukarDramaturgy: Tena BošnjakovićMusic: Miro ManojlovićCostume design: Ana MikulićLighting design: Saša Fistrić

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    Video: Matej Bodrušić
    Graphic design: Tihomir Filipec
    Photography, promotional video: Neven Petrović
    Producer: Ivan Mrđen
    Production: Artistic association ON/A
    Co-production: Zagreb Dance Centre

    The project was realised as part of the Zagreb Dance Centre 2023 residency program, with the support of the Ministry of Culture and Media of the Republic of Croatia, the City Office for Culture and Civil Society of the City of Zagreb and the Kultura nova Fundation.

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Transformers 2  

Transformers 2 is the second stage of the research of the idea of a transformative body, and as such it represents the continuation of the successful production Transformers, the first dance performance that Ida Jolić and Marin Lemić created together. This new duet continues to explore the communication between two fluid entities which are defined only by a perpetual change that follows their internal impulses and external stimuli.

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    Dance vocabulary is created in the same way as in the previous production: through movement, mime and voice, and the new element in physical expression and communication is touch, which makes the transformation processes taken from the first stage of the research more complex and at the same time creates a rich visual metaphoric content. Unlike the previous production, which explored the nature of transformation processes, that is, their separateness or their shared experiences and their interaction, Transformers 2 place emphasis on the simultaneous transformation of the duet as a complex whole and the exploration of the impact this joint, shared, always transformed and transforming body has on its surroundings.


Authors and performers: Ida Jolić and Marin Lemić
Sound designers and music: Luka Gamulin and Mislav Vidaček
Lighting desgner: Marino Frankola
Photography and costumes: Iva Korenčić
Text: Ana Vnučec
Executive producer: Ivan Mrđen
Introductory video: Iva Korenčić and Luka Gamulin
Thank you to Tana Mažuranić

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    This project has been created through the Mediterranean Dance Centre and Zadar Dance Company residential programmes. It was supported by the Croatian Ministry of Culture and Media and realized in cooperation with the Croatian Institute for Movement and Dance through Contemporary Dance Week Festival.

From Czech Republic

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dis pla y  

Expose yourself to the glittering surface and reflect your impression of me. There is a desire in me to slip in front of you and start laughing inappropriately. In the confrontation, we call the uncertainty and give embarrassment the green light. We are deadly serious, it’s the REAL DEAL BABY! But when will we be able to finally relax? This this this this play is not a play anymore.

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    Play, interplay, ending and often even defeat – the oscillation between tandem and rival position, support and loss of support, loneliness and acceptance of the other. How easy and difficult it is to be honest, how tempting it is to slip into a sincerity that is calculating and self-beautifying. DIS play is a disjointed game of distorted non-existent rules reflected in the fluid mass of time.

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Choreography, performers: Jitka Čechová, Tereza Lenerová
Music: Václav Chalupský, Chromatics "Toy" (Single)
Costumes: Marjetka Kürner Kalous
Light design: Patrik Sedlák
Dramaturgical cooperation: Maja Hriešik
Production: Veronika Hladká

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    Coproduced by: Tanec Praha z.ú. / PONEC - divadlo pro tanec, Prague, Studio Truhlárna, Johan z.s. / Moving Station Plzen
    With the support of: Ministry of Culture of the Czech Republic, City of Prague, Nová síť, Norwegian funds, Rezi.dance Komařice, Studio ALTA, Studio Dance Perfect, Micro and Macro Dramaturgies in Dance, Creative Europe Programme of the EU, Balada SITE
    Thanks to: Lucie Kocourková, Yvona Kreuzmannová, Markéta Perroud, Josef Chuchma, Markéta Málková & Aleš Hrdlička, Roman Černík & Eva Kraftová
    Duration: 50 min

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Glove Concern

The skin is the embodiment of a thin line that separates the inner from the outer world. A sensory organ with which we perceive the surrounding world, a rare material. The surface of the body can also reflect what's inside. Our skin is hypersensitive, as is society as a whole – exposed and scared. What does it say about us and what is its value? It can no longer protect us in the world we have created, so we prefer to go through it "with gloves on".

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    The skin is the embodiment of a thin line that separates the inner from the outer world. A sensory organ with which we perceive the surrounding world, a rare material. The surface of the body can also reflect what's inside. Our skin is hypersensitive, as is society as a whole – exposed and scared. What does it say about us and what is its value? It can no longer protect us in the world we have created, so we prefer to go through it "with gloves on".

    Since time immemorial we have been killing animals to wear their skins on our own. To warm us, protect us, beautify us. We take upon ourselves the responsibility for prioritizing the utility of the surface over the preservation of life within. Over time, the leathermaking craft is dying out. Not because we don't want to continue wearing flexible and tough leather, but because people have been replaced by machines. We don't want to have anything to do with death anymore.

    In Glove Concern, human and animal are in an embrace. Which of them is an endangered species and what is actually dying out here? Put yourself in the skin of someone or something else for a moment.

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Concept, choreografphy: Tereza Lenerová
Created and performed by: Andrea Miltnerová, Jitka Čechová
Dramaturgy: Maja Hriešik
Artistic advisory: Jiří Havlíček
Light design: Jan Hugo Hejzlar
Music: Floex
Costumes: Radka Vyplašilová
Production: Tactic

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    Executive producers: Alena Cardová, Romana Packová
    Graphic: Matěj Sumec
    Photography: Adéla Vosičková
    Thanks: Markéta Perroud, Markéta Bártů, Veronika Hladká, Ema Šlechtová, Kristýna Šimsová, Valerie Hrubešová, Natálie Vacková, Ivana a Sláva Lenerovi, Filip Polanský
    Premiere: 27.11.2023, PONEC - dance venue
    Duration: 45 min

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Together Alone – triptych

How to cope with the heavy feeling of loneliness? How to explain it? And why is it sometimes strongest when we are surrounded by people? Even when we are together, in the end we are each on our own in life.Sometimes it's the easier way. Being together requires openness to ideas and opinions, a willingness to listen and make compromises.What will unexpected meetings and crossing fates bring? And does physical closeness mean emotional closeness?

The triptych is a reflection of the author's chance encounters with various artists during two years in Prague, where she fled before the war.

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    Part I. - Lost
    Their stories are different, but they have one thing in common: they all fled from an occupied country and are confronted daily with the trauma, uncertainty and fear that comes with being a refugee in a foreign land. They are kept above water by their creativity, the ability to create and the opportunity to find a new community - an artistic family.
    Five Ukrainian dancers, torn from their homes, are here and now. Each for herself and yet together.

    The first part of the triptych presents the work of more Ukrainian artists. It is inspired by Anton Ovchinnikov's verses written during the war in Kyiv and the music of the Canadian-based Ukrainian radical anti-Putin band Balaklava Blues. Tomáš Kerle took care of fine-tuning the sound atmosphere.

    Part II. - Invisible Traces
    Fingerprints, a tangle of inconspicuous lines, hiding our uniqueness and genetic heritage. Invisible traces, unconsciously left in our surroundings, on things and people. We are covered by them too. Others have left them on us, on the surface, but also inside, as fleeting evidence of an experienced closeness. We create these invisible connections every day; we are the bearers of them, either unwittingly or by our own will.
    Czech performers Jitka Čechová, Katy Jabůrková, Žaneta Musilová and Lukas Bliss Blaha participated in the creation of the trio, inspired by the shape of the "barre" object by graduates of the Academy of Fine Arts, which can evoke, for example, a fingerprint.

    Part III. - Paradoxical Bodies
    In the realm of the human body's intricate essence,adrenaline and endorphins take center stage, harmonizing to define our physiological and emotional crescendos. They are the protagonists of an ongoing drama within us, where the balance and interplay between these two hormones are essential.
    The inspiration for "Paradoxical Bodies" was the original duet “Endless Talks” with Ladji Kone (BF), where Yana decided to take the feminine principle beyond the energy of man and woman, connecting two different cultures. The new duet with Nika Horiacha portrays two completely different characters and experiences: endorphin and adrenaline. Even though the two women are in harmony, they can be so different


Part I - LostConcept, choreography: Yana Reutova (UA/CZ)Dancers: Nika Horiacha (UA) , Olena Korotkova, Anastasiia Pavlovska, Yana Reutova, Valeriia Tsvirkunova (UA/CZ)Light design: Pavel Kotlík (CZ)Music: Balaklava Blues (CA/UA), Tomáš Kerle (CZ)Poetry: Anton Ovchinnikov (UA)Recitation: Olesa Usata (UA)Length: 20 min

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    Part II - Invisible Traces (Open Air)
    Concept: Yana Reutova (UA/CZ)
    Choreography: Yana Reutova (UA) with performers: Jitka Čechová, Kateřina Jabůrková, Žaneta Musilová, Lukas Bliss Blaha (CZ)
    Interpretation: Jitka Čechová, Žaneta Musilová, Lukas Bliss Blaha (CZ)
    Music: Tomáš Kerle (CZ)
    Set-design/object: Lucie Podroužková & Štěpán Rubáš (CZ)
    Length: 20 min
    Premiere: 27. 5. 2023 Žižkovské mezidvorky / Krenovka
    Production: Soňa Rizmanová (CZ)
    Producer: Tanec Praha z.ú. / PONEC – dance venue

    Part III - Paradoxical Bodies
    Concept, choreography: Yana Reutova (UA/CZ)
    Inspired by: Together Alone / Part III - Endless Talks co-created by Yana Reutova (UA/CZ) and Souleymane Ladji Kone (BF)
    Performers: Yana Reutova (UA/CZ), Nika Horiacha (UA)
    Dramaturgy: Jitka Pavlišová (CZ)
    Light design: Pavel Kotlík (CZ)
    Music, sound design: Tomáš Kerle (CZ)
    Costumes: Barbora Kotěšovcová (CZ)
    Length: 20 min
    Premiere: 26. 3. 2024 PONEC – dance venue
    Production: Soňa Rizmanová (CZ)
    Producer: Tanec Praha z.ú. / PONEC – dance venue

    Thanks to: Krenovka, SUDOP Real, Aerowaves and Yvona Kreuzmannová & the whole Tanec Praha team
    With the financial support of: Tanec Praha z.ú. / PONEC – dance venue, City of Prague, Czech Ministry of Culture, National Recovery Fund, NextGenerationEU, Krenovka, SUDOP REA

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GUIDE

What if one day we could look back at our life – would there be things we might want to do differently? Would we be able to avoid what we now see as mistakes? If we could ask for advice, what questions would we have? An audio-visual piece in which back then and now become one.

The performance received 3 prestigious awards at Czech Dance Platform 2016: the Audience Award, the Award for light design and the Award Dancer of the Year for Jaro Ondruš.

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    The performance was selected for Aerowaves Twenty17 and presented in Spring Forward 2017 in Aarhus (Denmark). Aerowaves twenty17 presents every year twenty most promising emerging choreographers in Europe. The performance was presented at One Dance Week festival in Plovdiv, SIDance Festival in Soul, V4 Dance Festival in New York and New Orleans, Israel Festival in Jerusalem, Birmingham International Dance Festival, UNIDRAM Festival in Potsdam etc.

    THE JURY’S VOICE
    "Unlike any other piece, Guide is extremely intelligent, loaded with dynamics and action in its work with optical light illusion. A mystical message concocted of sci-fi technology and hermetic references." - Nina Vangeli

    REVIEWS
    "GUIDE, speaks of a question that we all ask ourselves at some point in our lives: what would we do differently if we knew then what we know now. What would we change? In this case, the knowledge comes from a vision of ourselves in the future, guided by someone who is looking back in time. The work is beautifully done, with pristine lighting effects and a magical precision of movement." - Laura Kumin (Director, Certamen Coreográfico de Madrid)
    "I thought it was very interesting, I have not seen anything like that before, they were playing with my eyes, which I always enjoy, and it was very inventive. I personally like to see an old body on the stage and I think this body has a lot of embodied knowledge that is accessible to us almost immediately just by standing there." - Bush Hartshorn


Concept and choreography: Věra Ondrašíková
Light design: Dan Gregor
Software architect & live programming: Michal Rydlo
Music: Filip Míšek
Performers: Jaro Ondruš, Josef Kotěšovský
Dramaturgy: Marta Ljubková
Costumes: Hana Frišonsová
Production: Lucie Špačková, Tomáš Grúz

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    Supported by: PONEC – divadlo pro tanec, Ministerstvo kultury ČR, Magistrát Hl. města Prahy, AV MEDIA-technologický partner představení, Nethemba, DAMU, RPiShop, Czech Centres,
    Thanks to: Jaroslav Kovář, Jiří Bydžovský, Robert Russel, Radoslava & Petr Ondrašíkovi
    Duration: 45 min
    Premiere: 3.12. 2015

From Hungary

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LetMeC_natur

Márta Ladjánszki (after 20 years of being a choreographer and dancer) graduated from the Hungarian Dance Academy as modern dancer and rehearsal leader (BA) in 2015 and as modern dance teacher (MA) in 2018. During the choreography classes she started to develop an idea which was later shared with the dancers of Derida Dance Center in the frame of its 2-week long residency program in Sofia. The idea and the choreography gradually developed by having performed it live because the piece is in sensitive dialogue with both the space and the audience. Due to the countless reactions of the viewers each performance is different though it has a firm and clear structure base.

This piece has a fully nude version in which the audience members are also textile-free!

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    Feedbacks from the audience
    “Unprecedented event. An exciting experience which I definitely want to continue.”
    “It was my pleasure to be there and to take part in the performance. As I put it yesterday, a dream came true for me. I can hardly believe that it really happened. I’m grateful. It was fantastic!”
    naked discussion after the show (with naked audience and performers) at L1danceFest 2018

    “Contemporary Nude Dance in Budapest – Not for the first time, and not for the last! A place for both nude dancers and a nude audience. The idea came directly from Márta Ladjánszki who came into contact with one of the founding member of the Federation of Naturists in Hungary (FENHU), the Virtual Association of Naturists (NaVKE), more than 10 years ago. At that time, several successful dance performances were organised for naturist audience. Now, in 2018, the idea was taken up again and a series of three dance evenings was launched for a nude audience, as a cooperation of L1 Association with NaVKE.
    I attended the second event of the Dance evenings for a naturist, naked audience, a performance entitled LetMeC by Márta Ladjánszki and Zsolt Varga, in May 2018.
    For me, this evening was particularly special, since a version of their piece was shown with both a naked public and naked dancers. It’s a really great moment in a naturist’s life to have such an extraordinary experience. I am very grateful to Márta and her co-artists for creating this exceptional event.
    The choreographer performed this piece for a professional (and clothed) audience as well as for a clothed audience abroad. We were happy to attend the first naturist performance of LetMeC.
    The piece consists of an exciting and brilliant sequence of movements and of music composed on the spot, and what happened on stage assembled into an improvised plot. The experience could be described as if one begins to build a house while getting acquainted with the bricks and stones, touching and forming them, and finally a castle emerges, as some of the more brave spectators followed the performance sitting on the stage and became a part of the performance. After the performance, artists met with the audience for a talk about the performance. It was impressive to see the faces filled with joy, the feeling of accomplishment, and the varying interpretations of a touch and of a set of movements. And that’s how it should be, that’s the thrill of a performance. This is Márta and her partner at their best: when they unearth from us those of our feelings we have not even known about and transform us into naked figures.
    Anyone interested in sharing such an experience is welcome to join us at the L1danceFest on 6 September 2018, an event of meeting up, where Márta’s interest focuses on the interactions between people. While the first two naturist performances this year were private events, at this third event anyone who undertakes to attend the performance in the nude is welcome to join.”
    Written by Rózsa Markács, Secretary-General of FENHU, translated by Ilona L'Homme


Concept/Choreographer: Márta Ladjánszki
Composer/Music: Zsolt Varga
Performers: Ladjánszki Márta, Varga Zsolt
Supported by L1 Association, EMMI, NKA, Derida Dance Center, Fabrik Potsdam, Műhely Alapítvány, Virtual Association of Naturists (NaVKE)

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    This work exists in two versions:
    – in costume;
    – without costume – audience and performers are naked..

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EFFIGY

Effigy, looking at it from close: a portrait. Another image - differently. The etymological explanation of the word resonates with me, because I also think of the solo being made in this way as a resemblance, since who is on the stage is a nearly fictitious person. He feeds on and from Krisztián and appears on Krisztián's body, so he is similar to him, but he is not one in one. The appearance of the word effigy was first documented in English in 1539, probably coming through French, originating in Latin effigies, meaning copy, image, resemblance, portrait and sculpture.

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    I like the explanation that there is a biblical association with this resemblance, for according to the Bible, God created man in his own image. And the painter compares the image of the model and his own idea and paints the result. Like us, in this solo. This is also supported by Krisztián's hobby, namely painting, according to which the painter paints images. His portraits show not only faces but also destinies.
    In our performance, the character will have an individual fate that is outlined - or not - that can be read by viewers - or not.

    The burning of images is part of a number of rituals that signal the change of seasons, according to local traditions throughout Europe. The figures usually embody the "undesirable" forces of life (winter, previous year, witches, Judas) and, with their burning, signal and celebrate the annual cycle of life - death and rebirth - the defeat of winter and the return of spring. Most traditions are held around New Year’s Eve, at the end of the carnival, or the week before Easter.


Concept/director: Márta Ladjánszki
Choreographer: Márta Ladjánszki in cooperation with the performers
Dancer: Krisztián Barna
Composer/performer: Zsolt Varga
Light: Zoltán Fogarasi
Costume: Butterfly

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    Assistant: Renáta Joó
    Visual help: István Kovács
    Video documentation by Balázs Lajti aFilm.hu
    photos by Gábor Dusa

    Special thanks for those who helped our research during the workshop with their thoughts and movements, inspirational presence: Attila Dániel, Tímea Györke, Eszter Mórocz, Zsófia Szász, Flóra Veres; and László Árva who took pictures during our research.

    Supported by Közép-Európa Táncszínház, L1 Association, NKA Táncművészet Kollégiuma, EMMI, Emberi Erőforrás Támogatáskezelő, Budapest Főváros

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metro action

Three L1-members who happen to be independent artists reviving a work which existed of two versions already:
metro action appeared in unusual situations like in the M1 metro line as a duet by Márta Ladjánszki and Zsolt Varga in 2010 and was joined by Zsolt Koroknai for the M3 line in 2020. As during the Covid19 restrictions the theater visits were not possible they moved from the tunnel into the black box, later in 2021-22 with the financial help of ‘Köszönjük, Magyarország! Program’ one could see the performance further and in very diverse spaces like in a market place, in the forest, at Lake Balaton, in art camps and exhibition spaces.


Concept: Márta Ladjánszki
Performers: Zsolt Koroknai, Márta Ladjánszki, Zsolt Varga
Supported by L1 Association, EMMI, NKA

From Poland

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III Symphony

“The III Symphony is about sadness, regret, and pain. It's a kind of liberation and elevation. And these were the themes I wanted to confront. There is something in this composition that triggers various types of emotions. I have been told that this performance touches and moves people.” Janusz Orlik, choreographer.


Interpretation, choreography: Janusz OrlikMusic: Henryk Mikołaj Górecki, Symphony No. 3 "Symphony of Sorrowful Songs" Op. 36 for Soprano and OrchestraLight design: Janusz Orlik, Grzegorz PolakProduction: Janusz Orlik, Centrum Kultury w Lublinie / Przestrzenie Sztuki. TaniecResidency support: Materia w ŁodziVideo recording: CRT Studio

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Café Müller

Café Müller was originally the title of a four-part evening, whose premiere took place 40 years ago, on the 20th of May 1978. In addition to the choreography by Pina Bausch, which is still regularly performed today, this evening originally comprised work by Gerhard Bohner, Gigi-Gheorghe Caciuléanu and Hans Pop. Together they agreed that each of them will create a performance that will include the following elements: a café, darkness, someone falls, someone lifts, a red woman enters, everything goes silent.

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    Café Müller by Pina Bausch is a story about loneliness, isolation, unrequited love, grief and despair. The performance is moving, because it tells about topics that are close to everyone, iconic, because it can be used to explain what Tanztheater is, unique because Pina herself performed in it. For me - it’s simply brilliant.

    ​My Café Müller is a fanficiton. Basing on the existing performance, its world and characters, I create images referring to my personal story. Born in Iserlohn, a small town in Nordrhein- Westfalen, Germany, and raised in Poland, I have been asking myself: what would happen if my parents had not made the decision to return to Poland? In search for an answer I let my imagination run wild and created hypothetical scenarios, traveling around Germany, around my hometown, researching the German language and meeting Polish artists who live there. This performance, however, is not a linear story about what could have happened. It's not writing a new script about some alternative reality, but sharing of the emotions that accompanied me when I once again asked myself: what if?


Concept, choreography, performance: Dominik Więcek
Music: Przemek Degórski
Light design: Klaudia Kasperska​
Costume:
Project: Nikola Fedak
Realization: System Mody / Serafin Andrzejak
Language consultations: Joanna Pędzisz
Martial art consultation: Patryk Kołodziejski
Pictures: Maciej Nowak

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    Producer: Cultural Center in Lublin as part of the "Spaces of Art"
    Reserach support: Tanzrecherche NRW, Theater im Pumpenhaus, Tanzfaktur Köln, Folkwang Universität der Künste, Lublin Dance Theater

    The performance is created as part of the "Spaces of Art" program financed by the Ministry of Culture, National Heritage and Sport, carried out by the Institute of Music and Dance and the Zbigniew Raszewski Theater Institute. The operator of the project in Lublin is the Cultural Center in Lublin.

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The last solo of K.

The performance is a constellation of the references by the author and performer: to the art of Samuel Beckett, the character of Krapp listening to tapes recorded throughout his life on his each birthday; to Tadeusz Łomnicki’s part from the second half of the 1980s, and finally to his first solo in the performance by Hanna Strzemiecka made in 2000.After two decades from the performance “DC 5861494” Ryszard Kalinowski returns to known scenes, paintings and memories. He poses many questions, “listening to” the old performance through his body, entering into a dialogue with the picture on the screen, and creating the perspective for another meeting with himself in the future, in 20 years.

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Concept, choreography, performance: Ryszard Kalinowski
Light, sound: Grzegorz Polak
Dramatic cooperation: Grzegorz Kondrasiuk
Video: fragments of the performance “DC 5861494” choreorgaped by Hanna Strzemiecka in 2000

From Ukraine

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The Trap

Have you ever felt like you were stuck in space and in your own mind? It's as if you have built a trap that you can't get out of. How does this trap feel to you? How can you free yourself from it?

This performance reveals the state of feeling stuck inside oneself and in the environment one finds themselves in. The costume, which consists of a ‘second skin’ cocoon from which long pieces of fabric stretch out, intertwines with the objects around me to illustrate this physical and mental entrapment.

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    The idea for this project came to me on a night of insomnia, kept up by my anxieties and lack of direction. I entered a state of paralysis, mentally in my thoughts and emotions but also physically, feeling very literally stuck in my bed. I did realise that this barrier holding me back was in my imagination, but still felt incapable of moving.


Music: Yana Shliabanska — The Trap
Director and performer: Rita Lira (Ukraine)
Costume designer: Louise Carton (Belgium)
Sound seamstress: Yana Shliabanska (Ukraine)

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    Director of photography: Denys Lisovets (Ukraine)
    Video editor: Alexander Legostaev (Ukraine)
    Photographers: Mauricio Saldaña (Mexico) Miri Hamada (China)

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The Traces

The work is based on Jung's ideas about the collective unconscious. Our actions in the present are determined by what happened in the past, and our behavior is a mirror of previous generations. The connection with them is not limited to memory.
Performance The Traces is a dance visualization of the effects of psychological trauma caused by historical tragedies. They show how our culture, our relationships with people, and our destiny can be defined by the past. But it is worth remembering that these imprints can also be the key to changing the script of our future.


Choreographer: Tetiana Znamerovska
Performers: Kateryna Pogorielova, Tetiana Znamerovska
Composer: Ivan Harkusha (John Hope)
Scenographer, costume designer: Oleg-Rodion Shurigin-Grekalov
Lighting designer: Svitlana Zmieieva
Camera man: Philipp Wachowitz

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Danse Macabre. The Immortal Dance

This miniature performance was born at the intersection of dance, physical theater and music. The interweaving of experimental searches with tradition, the live sound of the wheel lyre and modern dance will offer you not only a spectacular form, but also important and deep meanings. The cycle, and most importantly, the interdependence of Life and Death, the place of man in this eternal cycle, is what the play focuses on. Two female performers will immerse you in the whimsical and at the same time magical world of contemporary dance theater for 30 minutes.


Director and scenographer: Bohdan Polishchuk
Choreographer and performer: Oleksandra Mahera
Composer and musician: Varvara Turta
Lighting designer: Svitlana Zmeeva

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Our Bodies are Seeds

As a woman and as a mother, I feel the continuity of death and birth, and as a Ukrainian I need justice and retribution.
This work memorises casualties of russian-Ukrainian war, intending to highlight the ages of russian colonisation in Ukraine and to keep the round of life of the Ukrainian nation.
The performance is dedicated to the memory of the 23,000 civilians of Mariupol who were killed because of Ukrainian nationality by the Russian soldiers during the first weeks of occupation and buried by no name in a common grave.

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    When it rains in the desert, the grass grows quickly because of small, invisible seeds deep inside the ground. All of them are waiting for the right time to spring to life. During sandstorms, they are carried to tropical forests on the other side of the ocean. There they also grow. This is the main law of continuity of life.


Choreographer: Viktoriia Khoroshylova
Performer: Viktoriia Khoroshylova
Sound design: Elle Loop

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    Experience dance during Malmö Gallerihelg when the new performance installation Our bodies are seeds was premiering at Mitt Möllan in Malmö.
    "This is my tribute and farewell to my beloved people on their last journey, with love and gratitude for their lives, which became the seeds for our future." // Viktoriia Khoroshylova, dancer and choreographer.

Contacts

e-mail: moc.liamg%40mroftalp.ecnad.au

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