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As part of the final instalment of the Performative Week which accompanies the exhibition Other Dances and the cycle Centre in Process, the Ujazdowski Castle Centre for Contemporary Art and the Centre in Motion are pleased to invite everyone to the Laboratory Building (Wojciech Krukowski Hall, ul. Jazdów 2) for the premieres of pieces by Magdalena Ptasznik (Uncannings, 11-12 September, 7 pm), and Maria Stokłosa (Królowa Wody/Queen of Water, 13-14 September, 7 pm). Apart from that, Other Dances will also host the presentation of Iza Szostak?s National Affairs (Sunday, 16 September, 7 pm), and the premiere of Izabela Chlewińska?s Silence, held as part of the Centre in Process cycle (Theatre Institute, 14-16 September, 4 pm, 6 pm, 8 pm). As the patron of the above presentations, we kindly encourage all interested parties to attend the events.


From the creators of Uncannings:


In the piece, the body is situated in the middle. Ostensibly motionless, it is in fact comprised of an incessant movement of progress and decomposition. Layers of material appear around the body, blurring its form. They fuse with the surface of the skin, creating rugged landscapes. Languid moves that apply subsequent coats of materials form a sediment that ascertains activity.


The coats of movement, their surfaces, and the lines delineated by the creases of the material fold and unfold interchangeably. They wrap the body, creating crevices, pockets, caverns, hollows. The make-up of the body changes in front of the audience?s eyes, as the body becomes part of an organism governed by time slower than that of the humans, effacing the bounds between the human and non-human.


Uncannings  operates within a horizontal order. The body does not exist against a theatrical background but rather props itself against a level surface. Our attention shifts onto materiality, and it is in the context of materiality that the body aligns itself. Horizontal plasticity interacts with the plane. It creates and manifests layers, fissures, operating with horizontal movement and the landscape, and disrupting any plane figures. By rearranging the order, we remove the luminous vertical framework of the theatre or ballet, within which the body is perceived as a figure, a medium of representation, and a symbol. We relinquish the cartographic gesture: the demarcation of a territory, categorizations, delineation of borders. The stable point of observation is set into motion. We are interested in the malleability of borders. By interacting with materiality, we incessantly change our perspective, our imagination incessantly summoning new shapes from the subsequent layers. Material excerpts crystallize in motion.  


The geological perspective is not only a metaphor that helps capture the human condition but also constitutes a form of speculation. It facilitates the stratification of the seemingly intact corporeal matter, inhibits motion to seismic speed, and creates a performance that is but a short fragment of an existence in transition.


Idea, choreography, performance: Magdalena Ptasznik

Choreographic collaboration, performance: Natalia Oniśk, Aleksandra Osowicz

Sound: Justyna Stasiowska

Dramaturgy: Eleonora Zdebiak

Stage design consultant: Alicja Bielawska

Photographs: Aleksandra Osowicz

Research collaboration: Vala Tomasz Foltyn


From the authors of the Queen of Water:


The piece is a shamanic improvisational practice, in which three artists with different experiences meet to discover and practice modern magic. Their intention stems from being in need of a change (in themselves, in others, in relationships with others, in this country, on this planet). Their efforts are accompanied by the Queen of Water, and their action is motivated by the suffering arising from a sense of helplessness. This practice highlights the role of indeterminacy, fun, self-ridicule, hard facts, conscious presence, and precise self-situation. Encouraging the audience to help them, the artists attempt to believe (again) in the causative power of art ? ritual, which radiates onto the entire community, far beyond the narrow circle of recipients.


For the past three years, Maria Stokłosa?s artistic practice has focused on task-based physical improvisation. In her latest piece, it is not the choreographer?s actions or her attention that take centre stage, but her intention. Stokłosa invited cultural manager and performer Katarzyna Sztarbała and Mateusz Kowalczyk, ?The Polish Shaman? and this year’s graduate of the Academy of Fine Arts in Warsaw, and director Łukasz Kos, to participate in the project.


?With her body, The Queen risks as well as makes relationships with others. She goes deeper while remaining on the surface. She first works, then judges. She utilizes the audience. Thanks to their presence, the show expands and overflows.?


The piece would not have been made possible without the support of Robert Steijn, Ricardo Rubio, and Sodia Zupanc Lotker.




Organisers: Burdąg Foundation, Centre in Motion


 Logo Fundacja Burdąg (oryginał)Logo Centrum w Ruchu (miniaturka)


Co-produced by the Ujazdowski Castle Centre for Contemporary Art 


U-jazdowski logo (miniaturka)


Co-financed by the Capital City of Warsaw as part of the programme Centre in Process 


 Zakochaj się w Warszawie - logo współfinansowanie (miniaturka)

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