Forefathers’ Eves: A Cycle of Premieres
Forefathers’ Eves is a cycle of premieres presented as an agon on 25-27 May 2017 (8 pm each night). Developed in three different instalments, the triptych covers the same theme, featuring performances choreographed by the artists invited by the Polish Dance Theatre: Kaya Kołodziejczyk, Tomasz Bazan, and Aleksandra Dziurosz in collaboration with the director Tomasz Szczepanek.
Presented in three instalments, the theme of Adam Mickiewicz’s Dziady (Forefather’s Eve) creates a unique platform for artistic competition, enabling the audience to triple their artistic, aesthetic and intellectual experience, and inviting them to join in the discourse on the contemporary reinterpretations of the work and the traditions it addresses.
The premiere performances will be accompanied by an academic panel of experts, comprised of Adam Mickiewicz University professors.
25-27 May, Forefathers’ Eves, Aula Artis, Collegium Da Vinci, ul. Kutrzeby 10
25 May, 8 pm: Dziady_kopia.doc [Forefather’s Eve_copy.doc] (premiere), choreographed by Tomasz Bazan | Buy ticket
26 May, 8 pm: Niech żywi grzebią umarłych [Let the Living Bury the Dead] (premiere), choreographed by Aleksandra Dziurosz, directed by Tomasz Szczepanek | Buy ticket
27 May, 8 pm: Gorycz [Bitterness] (premiere), choreographed by Kaya Kołodziejczyk | Buy ticket
18 May, 6 pm: Discussion panel Gdzież oni są [Where on earth are they?], Polish Dance Theatre studio, ul Kozia 4. Admission free
DZIADY_KOPIA.DOC [FOREFATHER’S EVE_COPY.DOC]
direction: Tomasz Bazan
choreography: Tomasz Bazan and Kornelia Lech, Michał Przybyła, Paweł Malicki, Dominik Więcek
music: Marcin Janus
multimedia, technologies: Grzegorz Kaliszuk
dramaturgical collaboration: Anna Królica
makeup artist, costume designer: Adriana Cygankiewicz
producer: Natalia Gorzelańczyk
produced by: Polish Dance Theatre in Poznań, as part of The Year of Sorcerers; Tomasz Bazan
cast: Paweł Malicki, Dominiki Więcek, Kornelia Lech, Michał Przybyła, Adriana Cygankiewicz
Inspired by Adam Mickiewicz’s Forefathers’ Eve and William Gibson’s Sprawl Trilogy.
Due to scenes of nudity, the performance is available solely to adult audiences.
From the choreographer:
To me, Adam Mickiewicz’s Forefathers’ Eve is a modern reflection of the idea of ritual. The world of rituals, which strives to open up unknown spiritual dimensions, entails contact with a reality that transcends our perception; it is a contemporary human attempt to “gain” alternative knowledge and expand the capacities of one’s body and mind. Dziady_kopia.doc is a modern-day confrontation between the human being in search of the logos of infinite knowledge, on the one hand, and time and non-material world expressed through the language of futurological technologies. Above all, Forefathers’ Eve is a narrative about the body threatened with annihilation, and an attempt to put the unknown (which contemporary culture expresses by searching for new human sciences and a deconstruction of ideas) in order
Forefathers’ Eve is a choreography that attempts to transgress itself: its codified structures and clearly delineated sequences. It is a pact with the impossible, which – as a result of a risky, liminal game with its own body – becomes somewhat tangible. Contemporary science and medicine know similar mechanisms, which take place in the human body, and are capable of empirically examine them in an increasingly more complete and understandable way. The research on serotonin neurotransmitters and, consequently, the expansion of the actual, short-term muscle strength, have contributed to the unique surge in the development of a number of Olympic disciplines owing to training plans developed with near-computer-like precision.
The achievement of a higher degree of consciousness, the experience of catharsis, spiritual rapture, conscious dreaming, ruptures in the structure of consciousness, conscious out-of-body experience – these effects have been achieved across cultures through certain psychophysical practices. Perfected through the ages, they have become a natural way to expand human capabilities, both the spiritual and physical ones. In today’s world, it seems that this role is gradually being overtaken by the Internet and the rapidly development of science. One of the most intriguing among these phenomena is the evolution of augmented reality, within whose confines the human being can almost infinitely expand the scope of their body and its cognitive capacities, depending on the algorithms of the pre-programmed device.
NIECH ŻYWI GRZEBIĄ UMARŁYCH [LET THE LIVING BURY THE DEAD]
concept, dramaturgy, direction: Aleksandra Dziurosz, Tomasz Szczepanek
choreographed by: Aleksandra Dziurosz and the Polish Dance Theatre
music: Aldona Nawrocka
costumes, stage design: Iga Kowalczuk
lighting design: Karolina Gębska
assistant choreographer: Paulina Jaksim
assistant costume designer: Natalia Rejszel
cast: Urszula Bernat-Jałocha, Fabian Fejdasz, Julia Hałka, Paulina Jaksim, Jerzy Kaźmierczak, Zbigniewa Kocięba, Katarzyna Kulmińska, Kornelia Lech, Paweł Malicki,Marcin Motyl, Michał Przybyła, Katarzyna Rzeteleska, Sandra Szatan, Domik Więcek, Emily Wong
The individual and society. Life and death. The death of the individual and the life of society.
We wake up, leave bed, go to work, work, eat, drink, rest, get bored, entertain ourselves, hit it off, split up; we are born, grow up, give birth to others, grow old, die. Our story – one of many that take place simultaneously throughout the world – always ends the same. We all know how.
Out of millions of challenges posed by life, we sometimes stumble upon someone’s death. How much does the death of others mean to us? Us as individuals. Us as society. The intersection of these two perspectives induces us to ask another question that we wish to leave hanging between the stage and the audience: what can we, the living, know about death?
concept, direction, choreography: Kaya Kołodziejczyk
music: Jacek Sienkiewisz
vocal consultation, “white” voice: Julita Charytoniuk
costumes: Katarzyna Borkowska
stage design: Bracia/ Maciej Chorąży and Agnieszka Klepacka
makeup artist: Magdalena Banachowicz
assistant producer: Sandra Szatan
performed by:Urszula Bernat-Jałocha, Fabian Fejdasz, Jerzy Kaźmierczak, Kornelia Lech, Michał Przybyła, Katarzyna Rzeteleska, Sandra Szatan, Domik Więcek, Emily Wong
He who never tasted bitterness will never taste sweetness in heaven.
Adam Mickiewicz Forefathers’ Eve, part II
Let absinth be more bitter than wormwood
Let love be homeless and mute
Let freedom continue to be imperilled
Truth – a distant and present land
Jacek Berezin ***
Bitterness comes in many shades. The author of the piece examines various areas in which we experience bitterness – sensory, existential, metaphysical. Bitterness lies hidden in the taste of rust, absinth ecstasy, or the bitter-sweet feeling of love. It can be found in the cleansing herb of wormwood, which breaks evil spells.
The experience of bitterness encapsulated in the literary and folk traditions – including the poetry of Mickiewicz and Berezin, and the folk rites of Forefathers’ Eve and Whitsun – is enlaced with the embodied experience of traditional “white” voice.
Co-financed by the Ministry of Culture and National Heritage
Tłum. Józef Jaskulski © Instytut Muzyki i Tańca