“The Choreographic Machine” Program

Curator: Anna Królica



Body. Child. Object
15.11.2014, 7 pm

The performance Body. Child. Object explores the notion of experiencing childhood. It is a time retained in both family and individual memory. Childhood consists of traces and objects — toys, notebooks, artefacts — evoking past sorrows, fears and joys. Just how large is our museum of childhood? Can it fit into our pocket? Or maybe it reaches all the way to the clouds, or is just an ordinary anecdote or an unanalysed recollection? The artist is interested in working with memory, a corporeal reconstruction of the states and symbols of the past: a bygone reality — in both the sociocultural and individual aspects.


“Dziecko. Obiekt. Ciało”, choreografia: Iza Szostak, Fot. Jakub Jasiukiewicz


concept/choreography/performance: Iza Szostak
visuals/music/performance: Kuba Słomkowski
technician: Łukasz Kędzierski
producer: Art Stations Foundation by Grażyna Kulczyk

partners: Adama Mickiewicza Institute, Centrum w Ruchu, Burdąg Foundation, Wawer District Office in Warsaw

Première: 17th November 2013, Stary Browar, Słodownia +3, Poznań


Projekt Maszyna choreograficzna został zrealizowany w ramach współpracy z Instytutem Muzyki i Tańca – program Scena dla tańca 2014.



Repeater a dance performance with father
21.11.2014,  7 pm

Until now my father and I have worked with wood, repaired bikes, harvested cherries and travelled together. But all of this is a while ago. My work as choreographer in the world only allows for little time and space for projects together. While it used to be

the work of my father that set the limit, it is now mine.

The piece “Repeater” is a proposal: spending more time together through my inviting my father, the retiree, to join my work. Thus, choreography might become a hobby. For my father it already has – not in the sense of mere fun (although this would not even be the worst), but as amateurs in the sense of the word: lovers of an activity.

All of this is also about the confrontation of long-borne grudges just as much as it is about the discovery of surprising advantages of the other. But the piece doesn’t want to reveal or express this. The project of making a dancepiece together is the focus. The vacuum of the long lasting silence being filled in this way, will become a presence on stage, in which we, father and son, will perform and, hopefully, achieve a readable intensity.


Repeater, fot. Fabian Lehmann


Choreography: Martin Nachbar
Dance, Performance: Klaus Nachbar, Martin Nachbar
Artistic Collaboration: Jeroen Peeters
Scenography: Bettina Darmawan
Light: Bruno Pocheron
Sound: Boris Hauf

A production of Martin Nachbar in in coproduction with brut Wien, FFT Düsseldorf and Sophiensaele, Berlin
Supported by Hauptstadtkulturfonds

Supported by the NATIONALES PERFORMANCE NETZ (NPN) International Guest Performance Fund for Dance, which is funded by the Federal Government Commissioner for Culture and the Media on the basis of a decision by the German Bundestag.

The project was produced with the support of a grant from the Ministry of Culture and National Heritage




New (Dis)Order
24.11.2014, 7 pm.


… Rock dance tended to be exuberant and anarchically complex, while theatre dance was often pedestrian and minimal. The familiar joke summarized the situation: in the early 1960s people would go to a dance concert to watch people stand around, and afterwards everyone would go to a party and dance.
(Cynthia J. Novack, Looking at movement as culture)


“New (Dis) Order”, choreografia Ramona Nagabczyńska. fot. Paweł Grześ


Choreography: Ramona Nagabczyńska (with substantial creative input from the dancers)
Lights: Jan Cybis
Music: Chinawoman, NEU!,Nisennenmondai, Ścianka, David Bowie
Performers: Magdalena Jędra, Mariusz Raczyński, Izabela Chlewińska/Anita Wach
Partners: Ciało/Umysł Foundation, Burdąg Foundation, Komuna//Warszawa
The performance was produced with the support of a grant from the Ministry of Culture and National Heritage

Première: 10th May 2012


Projekt Maszyna choreograficzna został zrealizowany w ramach współpracy z Instytutem Muzyki i Tańca – program Scena dla tańca 2014.



26.11.2014, 7 pm

Stage Directions of Memory.
Facts of Imagination
Inventory of Flashbacks.

“Rekonstrukcja”, choreografia Joanna Leśnierowska, fot. Jakub Wittchen


concept, direction, lights Joanna Leśnierowska
with Aleksandra Borys, Łukasz Kędzierski, Janusz Orlik
artistic collaboration, sound remix Janusz Orlik
technical realisation Łukasz Kędzierski
graphic design Michał Łuczak
production Joanna Leśnierowska
co-production Art Stations Foundation


Projekt Maszyna choreograficzna został zrealizowany w ramach współpracy z Instytutem Muzyki i Tańca – program Scena dla tańca 2014.



The Last Sunday
RE//MIX Conrad Drzewiecki
30.11.2014,  7 pm

Your Last Sunday…
Why didn’t you go further?
Why did you turn dance and ballet…
Into a hump.
Your Last Sunday…
The big finale at the top…
Was that your zenith? Or were you…
Overcome with fear?
(words: Radek Wysocki)

Iwona Pasińska, the choreographer of The Last Sunday, was raised on the myth of Maestro Drzewiecki, whom she — as a soloist of the Polish Dance Theatre — had the opportunity to meet on stage during his work on the performances Isolde’s Death and Roxana’s Song. The clash of myth and reality served as a starting point for pondering the true role of Drzewiecki within the Polish dance scene. The Maestro, unequivocally adored and presented as a model of form and substance, for many years caused dance to be clamped in an aesthetic-conceptual trap, out of which he did not want or could not free himself. While creating norms of transmission, he simultaneously created norms of reception. The audience’s habits and expectations did not allow the Maestro (and still does not allow his successors) to break free from the traditions of dance theatre established in Poland. It also makes us think about the causes of that situation.

In 1986, during the Ballet Meetings in Łódź, Drzewiecki premièred the performance The Last Sunday. Booed and questioned — it was the first failure in the Maestro’s life. At the same time, it demonstrated that an experiment that transcended the constructions previously used by Drzewiecki was more difficult for the Maestro than going further along the road that guaranteed him glory.


“Ostatnia niedziela”, choreografia, Iwona Pasińska, fot.Katarzyna Chmura


Choreodigressions: Iwona Pasińska
Text: Radek Wysocki
Sound composer: Hanka Klepacka; co-author: Bartłomiej Sowa
Production coordinator: Alina Kubiak
Performers: Iwona Pasińska, Mikołaj Mikołajczyk
Production: Komuna//Warszawa part of the RE//MIX cycle

Première: 26th October 2013

This project is supported by the Warsaw City Council and the Ministry of Culture and National Heritage.


Projekt Maszyna choreograficzna został zrealizowany w ramach współpracy z Instytutem Muzyki i Tańca – program Scena dla tańca 2014.




Abdrücke (2010) /Abdrücke folgen (2011)
two dance-installationen from Anna Konjetzky
16.12.2014 7 pm

“Sahra Huby is sitting in a glass house, naked to her underwear, caged like an animal, on display like a curious treasure. Hardly does she have the room to stretch her limbs, standing up is impossible. So she cowers restlessly in the bright empty cube. When she tries to extend her arms or unfold her legs, we follow her stained expressions. For those of us who like it even more intimate there is an indiscrete video projection on the wall showing all the details and writing the private protocol of that solitary confinement while diverting the gase away from the living object of curiosity. And thus making the voyeur´s perversion perfect. Meanwhile the object, the public woman, is starting to crack. She´s panting, rotating. The more she moves, the faster and louder her breathing. Her skin breaks out in a sweat, in the glass coffin temperature and humidity are rising. Blatantly observed from the shadows she tries to make contact. Sketches self-portraits, charcoal drawings hastily thrown onto paper like cries for help. Then she slides them out through thin slots in her prison walls. Anybody there? And when will they, will we start to really see her? Anna Konjetzky, who installed these solemnly insistent questions in the first part of a diptycon, mistrusts our communication happy times. But not enough to stop sending messages from the solitude of the I. Most impressively in “Abdrücke”.” -Katja Werner Jurytext for the German danceplatform 2012

„Abdrücke“ : this dance-installation creates tension between the geometric, anonymous urban space and the soft, malleable intimacy of the body, with the dance, the video and the drawings.

The dancer is inside a glass cube. (glass is covered with reflection foil)in the dancer can explore herself by movments and drawings and make a record of what she sees; she renders herself eternal, while questioning and scrutinizing herself. Almost like keeping a journal and leaving traces.

In the second part of the evening, Abdrücke folgen, the audience kind of falls inside the box, enters inside the dancer.

No more seperation between the dancer and the audience, which can sit around the four sides of the stage, only seperated by the cameras and lighting. Behind the audience, there are four screens on all four sides, which don’t just show the live images but also records from the dancer’s surroundings: documents, passports, bank-accounts… – proof of existence, identities, dimensions… The closer you try to describe, to see the details under a microscope, the more blurry the images get.



Abdrücke, fot. materiały prasowe


Choreography, concept, installation: Anna Konjetzky
Choreography, dance, drawing: Sahra Huby


Förderer: Bayerischen Landesverband für zeitgenössischen Tanz (BLZT) aus Mitteln des Bayerischen Staatsministeriums für Wissenschaft, Forschung und Kunst und Kulturstiftung der Stadtsparkasse München. Mit freundlicher Unterstützung des Muffatwerks München.



The project was produced with the support of a grant from the Ministry of Culture and National Heritage



WArd/waRD – Ann Van den Broek (NL/BE)
21.12.2014  7 pm

I SOLO MENT is an interwoven double solo, in which two temperamental and passionate individuals are on stage together, but are emotionally isolated.

A man: creates a safe haven, is true to himself, free of compromises with the outside world. Isolation, power and extremes rule. Self-imposed isolation slips into loneliness.
A woman: is his counterpoint. Observing, influencing and reflecting. Dragged back and forth between his world and society. Comprehension and admiration, incomprehension and a need for contact. Untouched bodies. Desperate bodies.

Arne Van Dongen composed the music, this time inspired by the music and lyrics of Nick Cave and the Bad Seeds. Niek Kortekaas designed the setting. Bernie Van Velzen is responsible for the video and the lighting design. The work of photographer Tom Van den Broek figures prominently in the piece.

I SOLO MENT, a moving, intricate and interrelated double solo about isolation, loneliness and the yearning for contact. ‘… gripping till the very last second and difficult to forget.’ (De Groene Amsterdammer).

‘Enervating performance about the need to connect (…) To start a performance with death is asking for trouble. Try topping that gripping scene. But Van den Broek manages to build the tension to a climax: an even colder ending.’ (de Volkskrant)

The Vereniging voor Schouwburg- and Concertgebouwdirecties nominated I SOLO MENT for the Swan for Best Dance Production of the 2008/2009 season: ’a tortured double solo, in which two individuals – the excellent dancers Cecilia Moisio and Dario Tortorelli – expose their complex love for each other under four studio lamps without ever touching. A startling choreography with a very powerful beginning.’ (VSCD Dance Jury)


Ann Van den Broek, I SOLO MENT, fot. Maarten Vanden Abeele


concept and choreography Ann Van den Broek
dance Cecilia Moisio, DarioTortorelli
music composition Arne Van Dongen
music editing and mixing Arne Van Dongen and David Van Bouwel
set design Niek Kortekaas
photography Tom Van den Broek
video – and light design Bernie van Velzen
advice Marc Vanrunxt
styling Ann Van den Broek

premiere 2008, The Hague, the Netherlands

I SOLO MENT is produced by WArd/waRD (NL/BE) in coproduction with Korzo producties (The Hague, The Netherlands) and ccBerchem (Antwerpen, Belgium) with financial support by the Ministry of Education, Culture and Science and the Council of The Hague. I SOLO MENT received a grant of the Dutch Fund for the Performing Arts.

The project was produced with the support of a grant from the Ministry of Culture and National Heritage