|Zsolt, Guillermo - photo: www.rolandszabo.cz|
One of the most strange and startling thing for a dancer is to see her/himself from outside, which is so dangerous, but constructive at the same time. Ricardo Machado, the original performer of the piece for the first time had the possibility to see his own build up movements converted to another body. As the non conceptual working method of the choreographer Karine Ponties, Ricardo’s visit wasn’t planned, just happened because of his current co-operation with Anna Réti in Budapest.
When the first weak light unfolded the masculine face, figure and slow, pure arm movements of the replacement dancer , I was falling into another world like Alice in Wonderland as a beginning of a rugged and exciting self-recognition journey. The reason of the amazing „life fight” full of jumps and falls doesn’t have to be determined. It allows all of us as free willed audience members to find the reason of the struggle in our current life period. The drag and in the same time supporting connection between the light and him (the only spot was attached to his body with a string) can be an unwanted ex-lover, a bad memory even as a hard decision. The pure, empty and dark stage was brilliantly equilibrating with the dynamic, special own technique based dance of . The opposite of the widely light, statuesque and in the same time considerably hard, physical movements kept the attention alive in every single minute. We could feel all the previous hard work and long research period in this approximately thirty minutes, as the dancer let us know after the performance, it was a big challenge to copy Ricardo’s movement, to transfer them to his own body. It helped him continue his solo work, to find something new and missing. At the end of the battle the tension reach an extremely high-level, he releases from the string and also his shirt so we can see his wheezy chest. The dramatic and fascinating music stop and the sound of the breathing makes the space divided between a really strong life in the only safe spotlight and the smell of death from the darkness of the rest part of the stage.
Problem of II word war, and everything subject around, for example deportation or racial harassment isn`t so often present in dance theatre. I`m really content with that L1 danceFest gave us a chance to see The Wolf Project, which is raising this issues. The Wolf Project is collaboration Kenneth Flak (Norway) with Kűlli Roosna (Estonia). They performance was based on history Kűllis grandmother, who survive deportation to Syberia during II word war.
Scene was completely white and clean, associate atmosphere from laboratory or hospital. Color of the space was corresponded with costume of a men. He was a lieder. His movement, very expansive and really smooth commenced the performance. It was first such dancing performance at the festival and it were really pleasurable to watch so beautiful and plastic movements. But this nice picture was disturbed by a girl sitting on a chair with her head hidden in a dark sack and a hands holding on the back, like she were trammeled. When the lieder released her, started real hard training, resemble training of martial art. His orders was based on uttering words consisting only of vowels. We cannot see normal relation, like between master and apprentice. There is no accord or approximation, only the lieder’s need to maintain control, without victim`s conscious.
A construction of this piece strengthens context in witch personage are. Choreography is interwinded with a parts of the text. Victim is telling her story, about deportation to Syberia, in wagon for transporting animal, which survive only few people, including her. But still she isn`t in good situation, because doesn`t now where she is. She couldn`t find any answer to of her question. She is taming and manipulated very slowly. At first the lieder was using simple voice commends, later more and more difficult choreography, which she use to repeat.
Her face making semblance very softly and innocuous, so that`s why was so surprising when she kill him. She like kidnapping victim has Stockholm syndrome, doesn`t know how to manage in new situation. She is hugging him and laing down next to him. She tried to help him get up, as if she thought he was still alive. Finally seat him on the same chair, does it mean that now she will be lieder and he will be victim? We don`t know, because the final is open. In my opinion it is really possible.
The Choreography definitely referred to Stanford prison experiment. The history about deportation was only excuse. This performance was a tractate about simple reaction in situation of deprivation liberty. But is the means by which used a choreographer to tell this story was accurate? In my opinion, not really.
The choreography was very plastic, smooth and soft, which is not authentic for this story. They should focus on ugly movement, uncomfortable for artists and also for audience. not easy, and requires. My rating is a completely subjective. I'm not sure if many people would agree with me, given how well the show was received by the audience. To me it is difficult to assess whether this piece was good. Nevertheless, the enormous pleasure was in watching such a beautiful and precise choreography, as this composed by Kenneth Flak and Külli Roosna.
Fifteen minutes of fame may fleet fast, but the experience of the powerful fifteen-minute duet performed by Jasper Dzuki Jelen and Tami Joe Fisher is definitely going to stay with us for a long time. We were all holding our breaths during their captivating balancing act based on contact improvisation and resembling a unique circus act in its virtuosity and dramatic impact.
The performers used one, seemingly simple idea – one of them was laying on the ground, while the other was trying to move (upon) him without touching the ground – and explored this to the limits of humanly possible. They presented not only exceptional abilities and remarkable endurance, but also an astonishingly high level of awareness of their own and each others’ bodies and actions.
The two dancers were already present in the auditorium when the audience arrived and instinctively formed a circle around them, sitting on the ground. Instantly we found ourselves in the ambient of a tribal gathering, just the way our ancestors were sitting around the fire, celebrating, praying, telling stories or simply discussing everyday matters.
This very natural and ancient form of assembling gave us the feeling of being connected with each other, like being part of a group. At the same time we created a supportive, safe space for the dancers in the middle, literally encircling them with our presence and attention. Even the virtuosity and the fluency of their performance evoked the atmosphere of a tribal dance to demonstrate the power and the skills of two young warriors.
We could easily identify with them, and besides of our curiosity, we were also rooting for them, hoping that they accomplish their goal. The title of the performance may also refer to this feeling of unity, all of us being a part of the community. The phrase ‘no man is an island’ was coined by the English poet and cleric John Donne in the 15th century, expressing the Christian idea (also shared by Buddhism) that all humans are part of mankind, and no man can thrive without relying on others, just like Jasper and Tami proved us in their harmonic cooperation. Or, it could also suggest that the dancer on the ground is the island, surrounded by the tide of the ocean, whilst the other one is stranded on this island and has to struggle to survive on this tiny space and try to gain the most possible out of this challenge.
Tami was the one laying on the floor, with his eyes closed, aiding him in sharpening his senses and in focusing, and Jasper was pushing, pulling and rolling his body whilst he was atop of him. At first it seemed that Tami was rather passive, and as relaxed as if he was just ‘a dead body’, which can be pain-freely stepped or jumped on, and has to be moved with pure force. Although the audience was in constant awe and tension about how Jasper was balancing upon him and doing extremely demanding moves with him in an accelerating rhythm – even contradicting their differences in weight, height and body building –, it was equally fascinating how it slowly came to show that Tami was very much assisting him, responding to him, and gradually became more and more active in the process.
The minimalistic music they chose to accompany the performance didn’t distract the audience from their duet, but accentuated the timing of their moves and presented a light contrast to the heavy physical tasks they were performing.
The ever growing intensity and increasing pace of their actions built up a dramatic tension leading to a climax, the most daring jump for Jasper, like a salto mortale up to the shoulders of Tami, who was already rising from the ground. In that very moment Jasper lost his balance and touched the floor, for the first time. But that haven’t had the slightest influence on the excitement and the delight of the audience. They already won our utmost admiration, and on the other hand, this tiny bliss of imperfection only made them more likeable, more like one of us.
|Jasper, Márta, Tami - photo: www.rolandszabo.cz|
Two young girls staying in front of an audience. The stage is dark as high T – Shirts which they are wearing. In such symmetric composition they starts their hopefully personal discussions about being women.
Actions are performing simultaneously. At the beginning they are seducing us sitting on the chairs, in the same time enjoying their own space, equipped with two tables, and with some gadget on it. Surprisingly they are owners of quite similar staffs like: the orange, onion, the Christmas ball, the kitchen towel, the rattle. In one of them was also a small plant and a Mother of God. In the background we see male legs pretending to wearing paper, two dimensional pink high – heel shoes. Some kind of strangers is coming into the play, when both girls during putting the water into the bathtub, keeping big bottle of ones in way could imagined us urinates men. Artist's face expression seems to be pretty concentrated and determined. After that, water is colored in red by putting into some sweet juice. Some foreign languages are coming to our ears from recorder like: what women should be, at what I am? Artists starts to compose pieces of food at their solar plexux. From time to time food's compositions starts to growing up. All things from tables starts to exists in created woman's pregnancy, not excepting their high heel – shoes. In these actions I have found some grotesque not be convinced about their quality. I was asking myself what kind of answers about femininity artists seems to us suggest. Pregnancy turned into a burlesque costume, when both of artist their high heel shoes contained on line of their breast decorate with pink stars. The final is big consumption of such cultural heritage by other women who is eating something from her stomach also penetrating his interior.
The presentation being of women starts to be too typical patchwork of quotations, starting from headdress, poses, cooking, making faces, finished with female biology like menstruation, but also masturbation. Is small figure of Mother of God symbolises women' s imagine whose duties are: caring, protecting, feeding, upbringing? That is this idea of women from which artists want to escape?
Consumption's motives or talking role's by women, problem of their duties, manner of behaving, their biology nature, sexual needs were very alive in femininity art since 60' even until now, but in my opinion the issue moved by artist is showed definitely in too general and simplified way. About what women we are talking about. What kind of heritage is for us – women – to offensive in artist's point of view? The way served by duet scenic solution sometimes was funny, but did not convinced me.
The play begins in total darkness. The audience is plunged into darkness, there can’t be seen sitting next to the person, even the tip of your nose is out of sight. When the eyes slowly adjust to the darkness, we start to seeing a white blur. We can not be sure if it is an illusion, maybe your eyes from too much darkness make tricks with us? But do not. An image begins to give substance, but still did not take the expressive form. It is a game with our perception. It’s very pleasant because in the emerging very nice picture.
A stream of warm light flowing from a small reflector, which seems to be a makeshift, brings out the dark figure of a man. It outlines a clear space around it, which should give him a sense of security, because the rest of the area is plunged into darkness. This "island" of the light, however, is for him prison, from which he can not escape. He is connect to the reflector with a thin rope, so wherever he move it the light follows him.
The light stream is only apparent authority over Benedetto. Combining their rope, it is so delicate that it seems that each of his powerful movement will break it. But this isn’t the limitations for dancer to using the full range of its movement. The movement sometimes is very dynamic and aggressive, like a dog rebellion which is suspended on a chain that wants to break up, what juxtaposing quality links, make this situation a little bit comic. This could also suggest some association with Don Quixote fighting windmills.
For me, the leading association was another literary figure - Robinson Crusoe. Benedetto`s ragged clothing, beard with elements of gray hair, which is a sign of time passing, and his single “island” of light. Over the whole show we can observe an attempt to obtain their freedom. At the beginning when his character is born with an unspecified white blurs in the area, moving very slowly, quietly, as if trying to find himself in a situation which has been attributed to him is not his will. The time when we can watch the hilarious fight, a bit surreal considering the subject of what it takes. Performs some expansive attacking space jumps, tosses struggles, but only at the moment when he manages to get the peace of mind comes out of prison.
Intriguing is the smile that appears on his lips Benedetto at the end, facing the audience, after a desperate attempt to catch his breath, when freed from the bonds, introduces a discordant feelings and amusing confusion among the public. All you watched his fight was not in earnest, only pure play with the audience, the perception of each viewer and his imagination.
Benedetto Pacifico has so far been the warmest adopted a performance by the audience. Is very reassuring that it is enough to maintain the same dancer viewer's attention at the same high level throughout the duration of the show. You do not need built over the stage, or use tricks. Only need a good performer and choreography, which will giving the opportunity to choose the way of interpretation.
How often do you laugh? Everyday? For every minutes? Antonia Baehr means: “I like to laugh. Often laugh. People often see me laughing”. In her performance she laugh very often and makes that people laugh with her. How? Laugh is contagious.
Performance of Antonia Baehr has very measured construction. It has several parts. After each she stay in front of the audience and bow. After short verbal introduction we watching unusual concert. Performer look like musician in philharmonic and play a score composed of the sounds. Interesting is sound of laugh – how different is it. We hear different sounds – low and high, nervous and quiet. Laugh is the rhythm of this performance, forms its rate and dynamic.
In the next part she take a small ball and throw. When the ball hits the floor she laugh at a rate of the hitting. This relationship is intriguing – performer is like a machine and sounds of laugh are very mechanical. Antonia Baehr has full control of her body. Every movement is considered, every tension of her body is visible. She is calm and her laugh isn’t random. She knows different techniques of laughing and she uses them, but her laugh seems to be natural.
When she later puts her head to glass vessels she looks crazy and unnatural. Her face is very deformed. The glass looks like the screen of television. It is comic TV program? But her laugh isn’t funny and light – it is frightening. Not only face of Antonia Baehr is deformed – deformed is also sound of her voice. She show us that our laugh can be different and cause different reaction.
Laugh is the movement. When we laugh our muscles are active. Our body is active though not always we see it. We hear our laugh, we hear sound. Antonia Baehr makes us aware of the mechanism of human laugh. She provokes us to laugh. Her action makes our bodies also begin to move. We are laughing out at her and with us. It is independent of us. It is natural movement of our body. And very simple.
There was a happy ending with laughs during the second evening of L1danceFest when Antonia Baehr welcomes us on stage and involves the audience in a musical roller coaster ride. From the very beginning with her self-confident ambiguity that doesn't go unnoticed (as the performance's theme) and a mocking seriousness, the multi-talented German artist displaces our obvious perceptions and presents us with a special theme.
Is it possible to represent the laugh, starting by deconstructing an impulse and presenting it in a scientific way without losing its creative and spontaneous effect?
And is it possible to propose again a laugh through a musical score, removing it from its natural environment of the social or a funny event which triggers it ?
Laughing is on the stage but it is not triggered by a well-written comedy play ; we could rather think of a cabaret musical play conceived in sort of entr'actes, a collection of polyhedric vocal virtuosity that Antonia Baehr offers to the audience in the form of a self-portrait.
But 'Laugh' is also a loving choral work, a composition of many familiar voices. The symphony that the she proposes, in its elaboration, is the gift of many scores specially designed for her by some of his closest friends for her birthday.
Antonia as orchestra conductor, even in a serious black suit for males and with a red collar tight around her neck, sat on a chair in front of a musical sheets, taking the tempo and with a deft gaze to the audience, starts to mix her own sounds and variations as a DJ and manages from the first intermittent bellowing laugh to interact with her audience, breaking the fourth wall of passive consumption.
With a continuous play of echoes and variations with her audience, Antonia as jazz composer seems to draw new energy from contagious laugh, creating even more sound material to work on, in a resonant space where the sound takes various shapes and colours for more than 50 minutes.
The stage presence of the performer is flawless: the balance between breaking into laughter and returning into a state of neutrality is the result of a meticulous research and technique of body tension and release. Continuous control of each gesture, attention to each minimal expression, facial training muscularity and conscious technique of relaxing throat and diaphragm make her whole body respond precisely to this intention: laugh and make others laugh. But not in the most trivial way!
Still in the script, in order to treat the scientific aspect of laughter as a game, Antonia plays with some objects on the stage: first she moves as a street juggler in a circus act creating a 'dance of balls' to support her thesis. This way “laugh” takes shape physically and audibly, underlining the difference of magnitude, colours and tone propagated by a voice.
Then, in a sort of grotesque fun-fair hall of mirrors, a clownesque Antonia deforms her smile and laugh behind a magnifying glass, encapsulating both sharp shrills and deep laughter borrowed from horror movie image. Antonia as clown succeds in representing well this ambivalent icon of contrast between promised laughs and evoked chills.
The end is an act of gratitude for all the presents received: a fond dedication to her mother , an exchange, this time a recorded real-life dialogue, the artist out of the scene, the stage brought to life by a duet for two female voices. The questions arises: is fake laughter contagious? What do you think now?
So if you have a chance to see Antonia during a live show or to talk with her after the performance, please remember to take part in her experiment and enjoy the evening. Don't stop a good 'Laugh'! And if you're grumpy please stay at home with your head-phones.
Hit and hot
For a longer or a shorter period everybody wishes to be a part of a big hit. Sometimes we are only a part of a fat hit. Well, don’t take everything literally, specially don’t make yourself asshole. But what if someone really does? Then comes the performance called Big Hits of GETINTHEBACKOFTHEVAN.
Lucy and Jennifer really, literally speaking want to present a show satisfying all wishes of all kind of spectators. They make jokes, Lucy sings amazingly and terribly, Jennifer picks up a bunny costume and make sweet and evil movements, we see some artificial blood what somebody licks from someone else’s body, we see the technician guy presenting and holding the speakers, there are well-known clichés of sexual aggression, pain, romantic, Parisian scene. It’s even tiring to enumerate what we see in their show…
However, the fiction is simple: they want to sing a song and entertain us – no matter what means to be entertained for each member of the audience. The really strict and wisely structured dramaturgy mixes the inner and the outer side of a show in a funny, ironic and even a harsh way: we see the “naked” process of show making (of theatre making). The reality of the show, the reality of the backstage work and the reality of the “real”, “civil” life are merging, the borders are disappearing.
The self-reflective act is not new in theater, (in a bit old-fashioned way) it wants to change our thinking about the entertainment industry and its often low quality. The piece starts like a light cabaret making the audience comfortable and gradually, almost in an undetected, seductive way it goes till brutal, dirty and obscene scenes. The body of Lucy is excessively beaten, used, crashed, shown. The theatre hall becomes smaller and darker, the air heavier, body-fluids are everywhere: sweat drops, spits, make up fragments and hair are falling on the stage. The fragile female idol is falling apart – let’s achieve the real pain! – she is losing her high heel shoes and artificial nails, her hair-do is becoming unrecognizable, she gets rid of her clothes making pink blush on her nude backside, making rude comments… Everything is told and shown, everything is the victim of a self-irony. Borders are crossed, audience is touched. Personally, I had been touched with fewer nudity and obscenity – but to be honest, before suffering and wanting to go away, to closing my eyes and ears I was also enjoying the show.
Almost everybody speaks English. And almost everybody is conscious about quality of these almost-English. It goes like we are hearing English speech very often but we are so rarely placed face to genuine English. The language of British mixes with our language as one needle with haystack. Now imagine that you was lucky enough and a shine of steel needle came into the front of you. How do it looks at the background of dried blades of grass?
Jenn is dressed as Rabbit. There is a seductive lingerie under rabbit. A costume could be different, but who is Jenn? We would know after the show. A GRADUATE IN ENGLISH LITERATURE IN A BUNNY SUIT! WHAT IS THAT? One version of Downshifting or only a possibility to earn a living or self-irony or an experiment? Could you descry myself inside a rabbit skin?
No, Jenn, you cannot hide away! And your English... A pile of fake fur can split out of your Rabbit, but a needle couldn’t be hidden inside it.
The professional actor could change a lot of masks. It is a complex work. Just imagine: you have come to the theatre. Shakespeare, Romeo and Juliet. Now then, all these people on stage — Montagues, Capulets, other veroneses — accomplished a complex work and had been reincarnated. Look at these Juliet! She is 40 but she looks so much as fourteen years old! But is there one genius between all of them? Towards the end of the play, upstage, up in smoke, an Apothecary appears — an old actor, role lasts 40 seconds. But it’s enough and you are coming into raptures. He didn’t wear a mask, he was himself: a man who knows all the plays in the world, passed through plenty of concepts and caprices of directors, had bowed to millions of spectators. Cardboard masks and costumes rest in a dressing room and he can afford itself the luxury to go on stage without.
Avant-garde theatre often explores just these: an art to be yourself. Do many succeed?
Introduction – this is the title of the first performance of the L1danceFest in 2013. An introduction to a choreographer’s world, to his specific humor. Two women are being kidnapped by an invisible person (by the audience sitting under the lights, facing them), two women are saying hello to us, keeping eye-contact and making funny, scared, thankful or coquettish faces. Anja Arnquist and Sophie Augot are following the perplexed wishes of the choreographer; their bodies react to the same impulsions with the same movements: an interesting study how mimics and gestures, for example two smiles can be different just because of two disparately grown skulls, teeth, tone of skin, shape of eye, colour of hair. The choreographer goes out from the theatre hall, but this scenic gesture doesn’t change much on the status of the performers. They continue their parallel, randomly connected movements, small acts are following each other. Anja Arnquist discovers the magic of the hair washing movements while listening music (that would be the freedom?), Sophie Augot has a beautifully and gently shown orgasm (she is clapping without noise and breathing in a tense excitement – that would be the individual joy?). At the end, huge reflectors are facing us: in the quickly raising, excessive light the dancers are disappearing, we got blinded. It’s time to look at ourselves, to look inside.
Did the choreographer look inside of his creation? What happened in between the eye-catching starting and ending point? What kind of connection did those two women have? Why were they showing us so often their back? Why did they have so few interactions with each other? Or was it a kind of rehearsal? We don’t know. It’s (just) an introduction.
I try to answer some questions :
1) Can I judge a performance?
2) Can I find a final judgement?
3) When could I put it (in which moment)?
4) Is it useful for me (for others)?
1) Yes , I have these possibility .
2) No, an experience proves subjectivity of judgements.
3) When I fill it was birded. Or just after the end of performance. Or when I fill everything is clear for me. Or after some kind of analysis. Or after some comparing with another works of the same kind or same author, so having something to associate with.
4) AREN’T WE IN THE FIELD OF EXPERIMENTAL ART ?
It is easy but usefulness to judge something experimental from the positions of something known. That is to say : this kind of artistic work asks for more attention, more efforts to understand it and some belief in position of artist. May be he is right even if we don’t see any proves of that.
A choreographer can leave his artists on stage without directing their work and it could mean two things :
1) He didn’t succeed to compose a thing
2) He wanted to explore behaviour of interprets (artists on stage) being on their own .
And if we accept the first position so there is nothing more to do about these particular work of art. It is no more interesting to do with a weak work.
But if we believe in second, a space of exploring opens for us. Now we have a need to prove our belief with arguments and we start to look for them inside the performance. Our attention, imagination, thinking process are activated. We are PRESENT during the performance.
First MAKT – Mobile Academy of Dance Criticism meeting
After the successful arrival of all the MAKT /Mobile Academy of Dance Criticism/ participants at the recently opened art center of Budapest the Jurányi Art Incubator House we started our first critical discussion with the introduction of the affected organizations and the members of the program. Some of us just arrived from the airport directly at the meeting, but the author and leader of the critical team Jadwiga Grabowska (Poland) and one of the students Oleksandr Manshylin (Ukraine) are already watched the performance of Márta Ladjánszki – choreographer, dancer and artistic director of the L1 Association – from the last night.
Our first guest was Tomas Moravek (CZ) light designer of Márta’s two performances, JOSHA - a portrait and the SZÉKI LUCA. We had the possibility to get a lot of information, knowledge and idea about his exciting work. For most of us it was first time to get in touch in that conversational way with a light responsible and to understand in more details the viewpoint and thinking of this profession. Of corse Tomas presentation is really important for us as a dance and theater critics, which can help both side in the common work. Márta also prepared us a presentation to introduce the L1 Association and Jadwiga explained about the aim and concept of the Academy. Márta and Jadwiga met in 2006, in a festival in Poznan. That was the beginning of this relationship which give us the possibility this year to work together in this enormous festival.
First day with the MAKT participants - special guests Márta Ladjánszki (artistic director of L1 Association) and Tomas Moravek (lighting designer from CZ)
TOPIC: LIGHT IN DANCE PIECES
|some details about L1 Association and it's annual festival L1danceFest|
|Tomas leads the attention to light-design (Tomas, Valerie, Jadwiga, Zita, Mira, Marta, Barbara, Orsi, Katherina)|
|listening, sharing (Jadwiga, Mira, Marta, Katherina)|
|light (Barbara, Oleksandr, Marta, Tomas, Valerie, Mira)|
|inspiration for Széki Luca (Tomas)|
Barbara Żarinow (Poland)
She is student of polish philology with specialization on Theatre studies at the Uniwersity Marii Curie – Skłodowskiej in Lublin, which is her home town. She is the editor of student magazine “5ściana” (“5thwall”), which is issuing during every theatre festivals in Lublin. Her interested in dance theatre when she first started going to dance workshops leading by dancers from Lublin Dance Theatre. She take a part in Poznan and Lublin edition of MAKT.
Marta Seredyńska (Poland)
She studied Theater Studies at Adam Mickiewicz Univesity in Poznań. Currently she is studying Interactive Media and Spectacles at the same University. She publishes article about dance and theater performances primarily on website. She participated in workshop of theater critism, which organizes theatrical newspaper Didaskalia.
She was the curator of interdisciplinary project for seniors during the festival Nowa Siła Kuratorska, which is organized by students. She also worked in the organization of various festivals, such as Malta Festival or events in the program Old Brevery New Dance by Art Stations Foundations. She was assistant choreographer Mikołaj Mikołajczyk in the performance Now is the time.
Oleksandr Manshylin (Ukraine)
Dancer, choreographer, teacher of Dance technique, the History of Contemporary Dance and Repertoire in universities of Kyiv, dance critic in magazines Proscenium, Dance in Ukraine and in the World. Doctoral student in Kyiv Theatre, Cinema and Television University researching methodologies of modern dance from Rudolf Laban to Merce Cunningham. Member of MACT sessions in Poland (2012).
Valeria Castellaneta (Italy)
is graduated at the Ca' Foscari University in Venice and specialised in arts management at the Paolo Grassi advanced School for art professionals in Milan. She completed her theatre and dance studies at the University of La
Valeria Castellaneta (Italy)
is graduated at the Ca' Foscari University in Venice and specialised in arts management at the Paolo Grassi advanced School for art professionals in Milan. She completed her theatre and dance studies at the University of La
Sorbonne Nouvelle (Paris). From 2004 to 2007, she worked as company manager (production,communication and tour manager) for the contemporary dance company Corte Sconta, co-founding and organising the first edition of Festival Opplà - Solo Dance international festival (2006) in Teatro Out Off, Milan. From 2007 to 2013, she worked as company manager and tour manager of TPO Company (Teatro Fabbrichino-Prato), an interactive dance company for young audience. In December 2012, she collaborated with Festival Exister, a contemporary dance festival in Milan. Since then, she has set up her own company specialising in European project management in the arts field, while continuing to collaborate with different companies both in Italy and France.
I am Barbara Siemaszko, student History of Art and Theater Science at Adam Mickiewicz University in Poznan. I ve studied Theater Science at Jagiellonski University in Cracow (2011) and last four mounths I have spent at University of Belgrade at History of Art and Archicture's department.
During my studies I am trying to gain an experience with my theoretical education. That is why I have co-operated with some foundations, redactions (for example: Art Station Foundation Old Brewery/New Dance in Poznan, Centre for Contemporary Art Ujazdowski Castle in Warsaw, also I have served an internship in the editorial office "Theater". Because of my interesting I belong to The Mobile Academy of Dance Criticism. This is new Jadwiga Majewska' s project.
My studies give me sufficient theorethical background in the area of contemporary art, also new media area but for me the most important is independent visiting many exhibitions, spectacles, and many others cultural events which happen around me. That is why so important is traveling, meeting other people, get to know another culture, observing and getting conclusion.