Choreography: Collective Dancers: Maga Radlowska, Elwira Piorun, Paulina Święcańska
Three women. Three worlds. Three incarnations. The 50 faces of Eva presents three totally different female characters. They have different origins. They became from different places. They build different relationships with men. Dancers show strong and independent businesswomen. Women who are closed. Women who are liberated. Women who are dominant and women who are dominated. What do you think, how many faces has “Eva” nowadays?
Ido Tadmor in Collaboration with Zawirowania Dance Theatre from Polandand the dancer Elwira Piorun, ex soloist of Polish Dance Theatre and the Polish National Ballet. Elvira came to Israel for a period of rehearsal and creation. Elwira and Ido will dance the duets- 'Engagé' & 'Rust'. The choreography for 'Engagé' is by Ido Tadmor. Rachel Erdos was invited to create the choreography for 'Rust' after her previous collaboration with Ido broke through the boundaries of the Israel and successfully introduced a variety of international stages. Two male-female duets showing different perspectives on a maturing couple and how life takes its toll. These two works can be presented together or separately.
Engage "We're born alone , we live alone, we die alone. Only through our love and friendship can we create the illusion for the moment that we are not alone” (Orson Welles).
Rust Sometimes silence is the most powerful voice there is... And the music is just in our mind. "Cruelest lies are told in silence " (Meir Shalev from the book 'Esau').
Choreography: Paulina Święcańska & Maga Radłowska Dancers: Paulina Święcańska, Maga Radłowska Direction: Włodzimierz Kaczkowski
The project is almost a laboratory test to examine the relationship between violence and the media image. This is an example of a relationship between two women, showing compassion for the victim reflected with the grim fascination of the executioner. Where in the theater does a risky game end, and a real rape begin? What is the model of mass culture? Are violence in prisons, death of dictators and street fighting types of mass culture models, when they are used as kitschy images on the internet? Does art have the right to process the violence and make of it a work of art? How far can you go with the provocation of nudity, violence and suffering? Is it not insulting to the victims when using sexually abusive context? Is there such a thing as crime pornography? These questions were the inspiration for the project, performed by two dancers who are trying to investigate the problem and to present it in the context of contemporary events and their reflections of mass culture.
Contemporary Dance Performance. They do not know their position on the sea. They do not have a compass. The only tool they have is navigation song. Navigation songs were used by fishing communities lacking sophisticated means of attaining the true position on the sea. This primitive instrument of navigation comprises from word, that tells a story, has its own tempo and melody in means of survival. On the base of fishermen’s stories coming back home, Navigation Songs approaches the topic of Cain's curse and the homeless wander to eternity. The spectacle recalls moments of human change: the philosophy of humanity by Erasmus, and the idea of the new European presented in Stephan Zweig’s literature. By the dancers’ journey the choreographer expresses his own experiences. Born in Canada, with Israeli origins he finally settles down in Poland creating a home and family in a new land. The dancers offer the audience a short voyage from the comfort of the controlled environment and anonymity of the seat to deep entertainment by means of empathy, passion and doubt.
Choreography and performance: Elwira Piorun Music: Grzegorz Ochęduszko
„Wody, powietrza...” is an attempt to face a banal, which does not mean an easy theme for the elements which gives life for a human. The choreographer explores the sensual experience of contact with water and air, while seeking the possibility of a motor expression of sensations coming from the visual, auditory and tactile reception of these more or less volatile substances. Water flows, air escapes. Transient and hard-to-find elements arouse the ever-growing and unquenchable desire.
Things, things, things
Choreography and performance: Karolina Kroczak Music: Zank’offsky Costumes, scenography, projections: Joanna Sieradzan Literate cooperation: Hanna Raszewska
„Things, things, things…” is a deliberation on the responsibility for the Holocaust and (in a wider perspective) for the trauma and suffering. The author is fascinated by Jewish culture, its balance between deep spirituality and a fixed focus on the material aspects of life. The inspiration for this art form is derived from objects owned by those who passed away. They also transport the identity of their now absent proprietors. What is left after separating a human from their outer aspects of identity? Around this question revolves the plot of this performance.
Innocent When You Dream
Choreography: Collective Dancers: Karolina Kroczak, Elwira Piorun, Bartosz Figurski, Szymon Osiński, Music: Tom Waits Music: Tom Waits
The performance Innocent When You Dream to the music of Tom Waits, an outstanding rock artist, tells a story about four survivors sitting in a bar somewhere at the end of the world where they relive the stories of their lives. Smoke fumes, alcohol, pub atmosphere, eroticism intertwine into an inseparable entirety. They stimulate for further attempts to establish contact with others and create a community. This way out of each other is expressed in scenes full of aggression, but also love and desire, presented by dynamic movement. However, there is not much that can be done in this world. Everyone will remain a lonely individual vainly trying to weave his story. Dreams will remain unrealized, which will lead to missing illusions. But the most important thing is that you are "Innocent When You Dream", meaning innocent in your dreams. The performance is even more interesting because it doesn't contain any words and everything is expressed only by movement.
The starting point of the performance are body and movement. Each dancer acts individually, although the space is common. Each of them tell their own story and the audience decides who is who and what relationship between the characters is. Sense of stage activities is created by viewers. Their presence makes dancers take postures that strive for communications and have certain meanings. They are out of reach, they can be watched but they can't be influenced in such a way that would change the meaning of images. Dance is a method of reaching beyond the surface, to the sense and meaning of relationships, which can be noticed only from the outside.
Choreography: collective (Polish part: Zawirowania Dance Theatre, Spanish part: Daniela Merlo) Direction:Juan de Torres Dancers: Katarzyna Kizior, Karolina Kroczak, Elwira Piorun, Bartek Figurski, Szymon Osinski and Daniela Merlo Music: compilation (pieces of music by Chopin)
Polish - Spanish coproduction of Zawirowania Dance Theatre and the group Larumbe Danza from Spain. Polish part is based on associations of movements connected with rhythm and melody of Chopin‘ music. It tries to translate the music into emotions and pictures that form a new quality. Dancers check the impact this music has, they try to break up with old schemes, they want to look at some matters with distance and play with form to combine two things that seem completely different- classical music of Chopin and contemporary dance. The Spanish part comprises of loose associations with Chopin’s music and with his personality, some unexpected contrasts and comparisons can be found here. There are flamenco parts, an Edith Piaf song and African rhythms. Everything is aimed at enabling the viewer to feel the contradictions of composer’s personality, his fascination with folk culture, his living on the edge of two cultures and his attitude towards women. The main motive are fingers that can be the fingers of a pianist- virtuoso as well as a flamenco dancer. This is a dynamic and expressive performance that shows the Spanish reception of Chopin’s music.
Nothing but the Blue
Choreography: Collective Director: Włodzimierz Kaczkowski Dancers: Elwira Piorun, Katarzyna Kizior/Aleksandra Dziurosz, Karolina Kroczak Music: Collage Lights: Jakub Wittbrodt
The situation takes place at the air port. Rush, planes taking off. Passengers carrying suitcases full of various objects: clothes, favourite books, a few CDs, a fountain-pen and cologne-water. And a baggage of experience, emotions and expectations. Omnia mea mecum porto. The one who opens his or her suitcase shows his or her ego to other passengers.
Choreography: Collective Dancers: Katarzyna Kizior, Elwira Piorun, Szymon Osiński, Michał Piróg/Bartosz Figurski Music: Collage
In a busy world a yuppie doesn’t have time to rest. Relations with relatives weaken. They get into metro, a car or a tram in the morning to be able to sit at their office desk as quickly as possible. In the evening they’re too tired to show any emotions. What’s left are fantasies in front of their computers and office gossips. Pondering about what will never happen and what could happen if they want beyond social convention. Imaginary affairs, passion, speculations about feelings. Dreams that can’t come true. Because they are meant to fail.
Dance theatre performed by three women. Seemingly they differ in everything: age, experience, dreams. Pedro Almodavar's works are the source of the performance. We face three disappointed women who try to live in the world dominated by men. All three are free and courageous rebels at least for one night in a saloon where the waiter complies with every wish. A moment of frenzy is essential for them not to become actually mad. And the next morning brings everyday normality. Piazzola's music stimulates sharp, violent shape of the danced scenes. Bare walls or former powder-magazine create impressive frame in witch reality is confused with dreams and imagination.