On Sunday, 24 February, at 5.00 and 7.30 pm, the Polish Dance Theatre will present the2nd episode of the audio-video-performance dedicated to four decades of the Polish DanceTheatre10 x 4 = XL / The Polish Dance Theatre yesterday and todayentitledKrzesany andother dancesat the 40th Anniversary of the Company and the 6th Festival of the Atelier. Theepisode refers to the period 1977–80. It will be accompanied by the premiereUkradkiemchoreographed by Tomasz Pomersbach and Katarzyna Rzetelska. For the Polish DanceTheatre, the late seventies was the time when the language and distinctive style of theCompany was created and the group was repeatedly successful at international festivals inParis and Milan, but it was also the period of staff turbulence and radical cast changes. Allthe history and contemporary reception and interpretation of former choreographies can beenheard (and seen) on 24 February 2013 at the Theatre of the Eighth Day.
At that time, as many as 12 premiers were created, including the legendary Krzesany(choreography by Conrad Drzewiecki) and exceptional in the first part of the PTT’shistory pieces not produced by the leader of the company: Suita H-Moll (choreographyby Sandor Toth), Sonata na kobietę i mężczyznę (choreography by Imre Eck), NocRozjaśniona (choreography by Sandor Toth), Karamita (choreography by Igor Urosević)and Krople Deszczu, Sekunda, Spirala ciszy (choreography by Kaoru Ishii).
The episode Krzesany and other dances is composed of reinterpreted themes of Krzesanychoreographed by Ewa Wycichowska, performed by Kornelia Lech, Artur Bieńkowski,Tomasz Pomersbach and the film by Daniel Stryjecki, a soloist of the Polish Dance Theatrewhich turned out to be the “dark horse” of the recent award ceremony of Polityka Passports.The gathered film material refers to the archive of PDT and memories of former dancers.Dominika Antkowiak and Ryszard Baranowski, the soloists of the Theatre, are the specialguests of the episode.
A woman and man entangled in a tortuous economy of desire which always appearsunexpectedly and which we are unable to control. The feeling of fulfilment is accompanied byfear and uncertainty, pain is inherent in pleasure. The roles that have been worked out earlierare getting out of control and become flowing. The tempter becomes the victim, the winner –the persecuted, and the constantly eager bodies reveal the grotesque face of man.
“People and insects, as well as other animals, seem to aim at something, their movements are
quick and intentional (…)”.
The Map and the Territory, M. Houellebecq
Directed, choreography and performance by: Tomasz Pomersbach, Katarzyna Rzetelska
Costumes: Roksana Rzetelska