26 Sep./set. | 21:30
Venue/Local: Teatro Municipal Joaquim Benite
The Harvest
Polish Dance Theatre |PL|
Choreography: Iwona Pasińska and Polish Dance Theatre artists
Dramaturgy and Director: Igor Gorzkowski
Assistant: Katarzyna Rzetelska
Performance: Amy Basley, Evelyn Blue, Kacper Bożek, Julia Hałka, Paulina Jaksim, Jerzy Kaźmierczak, Zbigniew Kocięba, Katarzyna Kulmińska, Dominik Kupka, Paweł Malicki, Daniel Michna, Michał Przybyła, Adrian Radwański, Katarzyna Rzetelska, Sandra Szatan, Emily Wong-Adryańczyk
Music: Eugeniusz Rudnik and Adam Strug
Costumes: Adriana Cygankiewicz
Lights: Przemysław Gapczyński, Mariusz Porada
Sound project: Michał Garstecki (Free Flay Music)
(…) You have passed through the world and you have given shape to the world through your deeds.
Look into the world, into the shape of the world.
(…) Groans and curses will pursue you, chase after you.
You are as powerful as God, who bears the world on his shoulder.
(“The return of Odysseus; a drama in three acts.” by Stanisław Wyspiański
translated with an introd. by Howard Clarke, published: Bloomington, Indiana University, 1966)
The Harvest refers to the rituals accompanying harvest and the cycle of husbandry, nature and human life, conceptualised ethnographically (inspired, among others, by Oskar Kolberg’s studies and Zofia Kossak’s Polish Year), as well as anthropologically and philosophically. The narrative axis of the show is delineated by the trope of the return of Odysseus, based on Homer’s classic epic and Stanisław Wyspiański’s “The Return of Odysseus”.
The performers – dancers of the Polish Dance Theatre, and an actor – portray the protagonists exploring several variations of kinetic and verbal events. The physical and psychological intensity of their actions is accompanied by the ascetic visuals.
The composition of Eugeniusz Rudnik, pioneer of Polish electronic music, was used in the performance. The vocal parts, based on traditional Polish music themes, has been contributed and performed by Adam Strug.
(“The Harvest” premiere inaugurated a new artistic program of the Theatre in 2017 – “The Year of Sorcerers”)
Iwona Pasińska is a choreographer, movement dramatist, theatre theorist, artistic director of Movements Factory and co-founder of the Movements Factory Foundation.
She graduated from the Feliks Parnell Ballet School in Łódź. She holds a degree in theatre theory from the Adam Mickiewicz University in Poznań, where she also did her PhD, focusing on the experience of the body in contemporary theatre from the perspective of dance theatre. In her research she focuses on movement and body expression in performative spaces.
Pasińska was the principal dancer of the Polish Dance Theatre (PTT) – Poznań Ballet from 1997 to 2008. In 1998 she won the Leon Wójcikowski Medal for the most outstanding young dancer.
Since 2002 she has displayed interest in movement composition, dramaturgy of body expression and choreography, which materialised in the form of productions premiered at the Atelier of Polish Dance Theatre.
In 2008, together with Marcin Maćkiewicz, producer and culture promoter, Pasińska founded Movements Factory. With the ensemble she created several dance productions. In 2010 she created two pieces for Movements Factory: Trop: DaNce as Art, named the most interesting dance theatre event of 2010 by Teatr magazine, and BodyLand.
Since 2010 she has been collaborating as choreographer or movement dramaturge with dramatic theatres, operas and alternative theatres, including: Teatr Wielki in Poznań, where she also directed Peter and the Wolf, Teatr Wybrzeże, Teatr Współczesny in Szczecin, Teatr Ochoty and Teatr Powszechny in Warsaw, Opera Nova in Bydgoszcz, Teatr Lubuski in Zielona Góra, and Teatr Modrzejewskiej in Legnica.
In dramatic theatre she has collaborated with different artists such as Marcin Liber on Macbeth, Three Furies and Alexandra: On Piłsudski, Piotr Kruszczyński on All You’d Like to Say After Your Father’s Death but are Afraid to Open Your Mouth, and A Man with God in His Wardrobe, Igor Gorzkowski on The Tempest, The Old Woman, Eclipse, The Madman and the Nun and Hey, Guelder Rose, Raspberry, Wine-Coloured Cranberry; and Bartosz Frąckowiak on Father H., or Angels in Amsterdam. In opera Pasińska has collaborated with Natalia Babińska on Halka and Demetrio; with Ignacio Garcia on Hamlet; with Michał Znaniecki on Bal maskowy and Mandragora; with Monika Dobrowlańska on Ophelia; and with Piotr Bogusław Jędzrejczak on Francis and the Wolf of Gubbio. She has also performed in a range of dramatic plays: Histericon directed by Piotr Kruszczyński (Teatr Polski, Poznań), Forefathers’ Eve directed by Maciej Prus (Teatr Polski, Poznań), Shakespeare or … whateva directed by Andrzej Dziuk, and Blood Wedding directed by Jan Szurmiej. She has also acted as assistant to Claudia Castellucci of Societas Raffaello Sanzio in the process of production of The Rite of Spring.
In 2011 she was involved in the design of the pre-match ceremonies for the UEFA Euro 2012 which Poland hosted. In 2012 she prepared choreographies for the Euro 2012 pre-match ceremonies in Poznań.
In 2015 she established Movements Factory Foundation. In 2016 she has become the Director of the Polish Dance Theatre.
Polish Dance Theatre was founded in 1973, as a professional and autonomic collective, it’s countenance evolved from the ballet-shaped spectacle forms to contemporary genres: dance theatre, characterized by crossing over genres, as well as technical and stylistic borders, liberating itself from traditional methods of expression, leaning toward interdisciplinarity, pursuing new theatre spaces and improvisation based process of creation.
Polish Dance Theatre – Poznań Ballet was established in 1973 on the initiative of the city authorities and local artistic circles. The job of managing it was given to Conrad Drzewiecki, an outstanding dancer and choreographer.
Drzewiecki’s 15 years at the helm were characterised by pioneer accomplishments which placed the Poznań Ballet among Europe’s leading dance ensembles and opened the door to international ballet festivals.
In 1988 Ewa Wycichowska took over as the manager and artistic director of the Polish Dance Theatre.
Treating modern and contemporary dance as the basic movement material, Ewa Wycichowska developed an original concept of performance and choreography that aims at a synthesis of arts in which the choreographic, dramatic, musical and visual layers meet and intermingle. She also made her own contribution to the idea of individualistic theatre and invited the cooperation of many distinguished artists from all over the world.
For some years now Polish Dance Theatre has been perceived as a unique choreography forum, which has seen original choreographies by such artists as Birgit Cullberg, Mats Ek, Örjan Andersson, Jens Ostberg, Marie Brolin-Tani, Virpi Pahkinen (Sweden), “Les Carnetes Bogouet” (France), David Earle (Canada), Toru Shimazaki (Japan), Yossi Berg (Israel) and Jacek Przybyłowicz (Poland).
Polish Dance Theatre’s attractive repertoire, original dance language and contemporary theatre form have attracted universal praise from audiences all over the world.
From 1973 Polish Dance Theatre, though based in Poznań, has remained faithful to its statutory obligation to promote the art of dancing and disseminate ballet culture throughout the country. And adding an educational perspective to its wide spectrum of interests, the theatre started organising the Contemporary Dance Workshops and the Contemporary Dance Biennale in years 1994-2016 and the International Festival of Dance Theatres from 2004, in the last years known as a Dancing Poznań.
Iwona Pasińska has been director of Polish Dance Theatre since September 1st 2016.
Performance presented in partnership with:
Duration: 60’
Ages: 12 and over
Price: 10€ | 7,5€ for youth and senior citizens
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Coreografia: Iwona Pasińska e artistas do Polish Dance Theatre
Dramaturgia e Encenação: Igor Gorzkowski
Assistente: Katarzyna Rzetelska
Interpretação: Amy Basley, Evelyn Blue, Kacper Bożek, Julia Hałka, Paulina Jaksim, Jerzy Kaźmierczak, Zbigniew Kocięba, Katarzyna Kulmińska, Dominik Kupka, Paweł Malicki, Daniel Michna, Michał Przybyła, Adrian Radwański, Katarzyna Rzetelska, Sandra Szatan, Emily Wong-Adryańczyk
Música: Eugeniusz Rudnik e Adam Strug
Figurinos: Adriana Cygankiewicz
Luzes: Przemysław Gapczyński, Mariusz Porada
Sonoplastia: Michał Garstecki (Free Flay Music)
(…) Passaste pelo mundo e moldaste o mundo através dos teus atos.
Olha para o mundo, para a forma do mundo.
(…) Gemidos e maldições irão perseguir-te.
Somos tão poderosos quanto Deus, que carrega o mundo aos ombros.
In “The return of Odysseus; a drama in three acts.” de Stanisław Wyspiański
The Harvest refere-se aos rituais que acompanham a colheita e o ciclo da criação, da natureza e da vida humana, conceptualizados do ponto de vista etnográfico (inspirado, entre outros, pelos estudos de Oskar Kolberg e de Zofia Kossak), bem como antropológico e filosófico. O eixo da narrativa do espetáculo é delineado pelo tropo do regresso de Ulisses, baseado no épico clássico de Homero e na obra “The Return of Odysseus” de Stanisław Wyspiański.
Os intérpretes, bailarinos do Polish Dance Theatre e um ator, são os protagonistas, explorando diversas variações de eventos cinéticos e verbais. A intensidade física e psicológica das suas ações é acompanhada por um ascético visual.
(A estreia de “The Harvest” inaugurou um novo programa artístico do teatro em 2017 – “The Year of Sorcerers”)
Iwona Pasińska é coreógrafa, dramaturga de movimento, teórica de teatro, diretora artística da Movements Factory e co-fundadora da Movements Factory Foundation. Formou-se na Feliks Parnell Ballet School em Łódź. É formada em teoria do teatro pela Universidade Adam Mickiewicz de Poznań, onde também fez o seu doutoramento sobre a experiência do corpo no teatro contemporâneo da perspetiva da dança-teatro. Na sua investigação, debruçou-se sobre o movimento e a expressão corporal em espaços performativos.
Pasińska foi bailarina principal do Polish Dance Theatre (PTT) – Poznań Ballet entre 1997 e 2008. Em 1998 recebeu a Medalha Leon Wójcikowski como mais notável jovem bailarina. Desde 2002 que mostra interesse na composição do movimento, dramaturgia da expressão corporal e coreografia, interesse que se veio a materializar na forma de produções estreadas no Atelier do Polish Dance Theatre. Em 2008, juntamente com Marcin Maćkiewicz, produtor e promotor cultural, Pasińska fundou Movements Factory. Com o grupo criou várias produções de dança. Em 2010, criou para Movements Factory Trop: DaNce as Art, considerado o evento de dança-teatro mais interessante de 2010 pela Teatr magazine.
Desde 2010 que colabora como coreógrafa ou dramaturga do movimento com grandes teatros, ópera e teatros alternativos, incluindo: Teatr Wielki em Poznań, onde encenou também Peter and the Wolf, Teatr Wybrzeże, Teatr Współczesny em Szczecin, Teatr Ochoty e Teatr Powszechny em Varsóvia, Opera Nova em Bydgoszcz, Teatr Lubuski em Zielona Góra e Teatr Modrzejewskiej em Legnica.
No teatro dramático colaborou com artistas como Marcin Liber em Macbeth, Three Furies e Alexandra: On Piłsudski, Piotr Kruszczyński em All You’d Like to Say After Your Father’s Death But Are Afraid to Open Your Mouth e A Man with God in His Wardrobe, Igor Gorzkowski em The Tempest, The Old Woman, Eclipse, The Madman and the Nun e Hey, Guelder Rose, Raspberry, Wine-Coloured Cranberry e Bartosz Frąckowiak em Father H. ou Angels in Amsterdam. Na área da ópera, Pasińska colaborou com Natalia Babińska em Halka and Demetrio; com Ignacio Garcia em Hamlet; com Michał Znaniecki em Bal maskowy e Mandragora com Monika Dobrowlańska em Ophelia e com Piotr Bogusław Jędzrejczak em Francis and the Wolf of Gubbio. Atuou também em várias peças dramáticas: Histericon encenada por Piotr Kruszczyński (Teatr Polski, Poznań), Forefathers’ Eve encenada por Maciej Prus (Teatr Polski, Poznań), Shakespeare or … whateva encenada por Andrzej Dziuk e Blood Wedding encenada por Jan Szurmiej. Trabalhou também como assistente de Claudia Castellucci da Societas Raffaello Sanzio no processo de produção de The Rite of Spring.
Em 2011 esteve envolvida na conceção das cerimónias de apresentação dos jogos do Campeonato Europeu de Futebol de 2012 que teve a Polónia como um dos países anfitriões. Em 2012, preparou coreografias para as cerimónias de abertura dos jogos do Campeonato Europeu de Futebol de 2012 em Poznań.
Em 2015, criou a Movements Factory Foundation. Em 2016, assumiu a direção do Polish Dance Theatre.
O Polish Dance Theatre foi fundado em 1973, como coletivo profissional e autónomo, a sua estrutura evoluiu de espetáculos assentes em dança clássica até aos géneros contemporâneos: dança-teatro, caracterizada por um cruzar de géneros e das fronteiras estilísticas e técnicas, libertando-se de métodos tradicionais de expressão e inclinando-se para a interdisciplinaridade, buscando novos espaços de teatro e processos de criação baseados na improvisação.
O Polish Dance Theatre – Poznań Ballet foi criado em 1973 por iniciativa das autoridades municipais e de círculos de artistas locais. A sua direção coube a Conrad Drzewiecki, um bailarino e coreógrafo notável. Os 15 anos em que Drzewiecki esteve ao leme foram caracterizados por realizações pioneiras que colocaram o Poznań Ballet entre os principais grupos de dança na Europa e abriu as portas para festivais internacionais. Em 1988, Ewa Wycichowska assumiu a direção geral e artística do Polish Dance Theatre. Tratando a dança moderna e contemporânea como ponto de partida, Ewa Wycichowska desenvolveu um conceito original de interpretação e coreografia que visa uma síntese da arte em que as camadas coreográfica, dramática, musical e visual camadas se encontram e misturam. Deu também o seu próprio contributo para a ideia de teatro individualista e promoveu a colaboração com inúmeros ilustres artistas em todo o mundo.
Há já alguns anos que o Polish Dance Theatre é reconhecido com um fórum coreográfico único, pelo qual passaram já coreografias originais de artistas como Birgit Cullberg, Mats Ek, Örjan Andersson, Jens Ostberg, Marie Brolin-Tani, Virpi Pahkinen (Suécia), “Les Carnetes Bogouet” (França), David Earle (Canadá), Toru Shimazaki (Japão), Yossi Berg (Israel) e Jacek Przybyłowicz (Polónia)
O atraente repertório, a linguagem de dança original e a forma de teatro contemporâneo do Polish Dance Theatre têm recebido louvores em todo o mundo. Desde 1973 que o Polish Dance Theatre, apesar de estar baseado em Poznań, se tem mantido fiel à sua obrigação legal de promover a arte da dança e divulgar a cultura em todo o país. E adicionando uma perspetiva educativa ao seu vasto espetro de interesses, a companhia começou a organizar workshops de dança contemporânea, uma Bienal de Dança Contemporânea entre 1994 e 2016 e um Festival Internacional de Dança-Teatro a partir de 2004, nos últimos anos conhecido como Dancing Poznań. Iwona Pasińska é a diretora do Polish Dance Theatre desde 1 de setembro de 2016.
Espetáculo apresentado em parceria com:
Duração: 60’
Classificação etária: M/12
Preço: 10€ | 7,5€ para jovens e séniores