PHOTO. TAMARA WIECHEĆ
1ST NIGHT: 23RD OF MARCH 2013 29. THEATERTAGE AM SEE (FRIEDRICHSHAFEN/Germany)
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ST I CA SK W K O BI K AK BO DE ŁO W R A O U G A N YN G IE K ES Z A G S KA UM SZ AR N O OM Ń EK ST O O S AT AN KA T RA IC AK CO SIC IDE ION RT K SZ IA B F L KA MU ND V JECT BA IE AL Ł H O N AT HA IEC J P WS RK A PRO AG N IC OJC MIE KO WO M A W ŁO OW AM RT N TE BA ENA
The play is a study of the relationship between Her and Him, which is ruthlessly invaded by unborn child. A time of pregnancy appears to be a life’s breakthrough for this women and her environment. The situation requires a revaluation of everything what previously was a ground for existence. She, He and It compose a one, common organism even though they fight with each other and rarely speak with one voice. Those three links watch each other, desperately trying to control the situation and protect their own organisms, emotions, threatened independences and disturbed identities. This ternary system constantly falls one of them, however, and still again they try to belong. There is also an another character of the play – the human body, treated often in very anatomical way, like a form. However, its organicity is inextricably linked with emotionality, relations and self-awareness. In this dimension, the woman becomes only a caricature belly that carries a growing fetus which deforms, explores and penetrates her body. Corporeality, beauty and strength of muscles talk with the voice of lost passion. From under the skin of feelings, contingencies and uncertainties, they are still the intercessor of naturalistic instinct which tells the prospective parents to take care of themselves and their own desires and lust. However, the first emotions related to the child make this instinct naked and helpless, forced to rethink the concepts of closeness and love. „90 - 120 - 90” is a story told with sound and motion characteristic and associated to the aesthetics of PRÓG Theatre. Actors are balancing between precise figures and spontaneous dance. Live music wanders from the accurate structures to the endless vocal and instrumental improvisations. Sound and dance create the dramaturgy of the piece and inspire each other. Actors are also dancers and musicians, weaving between two interpenetrating worlds: the tangible space of visible instrumentation, electric sounds and video-art and the story about emotions of their characters.
PHOTO. JANUSZ GAWRON
„90 – 120 – 90” : SHE, IT, HE TOLD WITH DANCE, SUNG, PLAYED WITH MUSIC…
PHO TO. KLA UDIA
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PHO TO. SZY K
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Marta Stańczyk, A visceral crisis, The Daily Theatre, 16.10.2013
PHOTO. JANUSZ GAWRON
The perfect measurements: 90-60-90. Ideal life, youth, success, physical appearance under control, social and cultural recognition... what happens when an essential dimension of the center is doubled? How one reacts to such „growth” which is independent of our will and forms itself into a human being in the woman’s womb? The „90-120-90” performance deals with the preganancy trauma. [...] The demythologization and eventhe demonization of pregnancy doesn’t refer to any real lifestory or a character - it is a statement of the contemporary state of mind. One of the last scenes suggests the beginning of the transformation. [...] The moment where other dancers wrap the pregnant woman round with scarves has a load of subtle meanings. In the scene of giving birth they represent an umblical cord which tightents a future mother. The red and dark blue scarves symbolise a cardiovascular system which connects mother and fetus.
[…] the music will be also born from the guts of the performance. Spectacular vocal parts will be completed from the centre of action, uniting the phonosphere, making it not a separate form but the organic space of the entire work of art. Acting in the spectacle is incredibly physical: unstoppable dance, duet sequances of actors, continuous ecstatic movement. Everything is done with the highest speed, on the border of acrobatics and capabilities of human body and its motor abilities. […] The physicality – ‚meatility’ is the one of mainly elaborated problems. Approximately in the middle part of the performance there is a scene with the use of video screening. The bodies of the dancers were used as screens for the view of the anatomical atlas. These moving bodies without skin, as if consisting just of meat, have shown our inevitable connection with physicality more distinctly than any words. […] Yet the spectacle is far more complicated – and I believe it is a huge advantage. It is aesthetically exquisite, simple very beautiful. White, flimsy dresses of females – ethereal, beauty and grace – are clashed , from time to time with the explicitness of the meat – body. Tadeusz Kornaś, Standing on the threshold, ‘Teatr’ Magazine, June 2013
PHOTO. JANUSZ GAWRON
Theatre Próg [translator’s note: Próg in Polish means threshold] is an ambitious and rebellious group which due to its artistic ambitions steps out of the amateur circle by miles. […] The latest spectacle of Theatre Próg – 90-120-90 has surprised the audience with the transformation and extension of the convention from Gardzienice. The traditional, antique, folk or other similar inspirations do not appear in the performance which is settled in a contemporary aesthetic. […] Theatre Próg uses the training from Gardzienice, which is especially visible in the character of movement and its reciprocity.
Each character has its own way of movement which is additionaly highlighted by the sounds of music. The instruments placed on both sides of the scene which produce masculine and feminine sounds create a musical stage design. The sounds build up together tension and create drama. The story doesn’t have to be told only in a verbal way. A theatre of movement, form and sound shows people as multidimensional beings and that is what perfromance creators want to focus on.[...] The story focuses on three characters, she - it - he, but not only them one can see onstage. A human being is shown as the previously mentioned „measure of all things”, but also as an individual, implicated in social relations. Every gesture and movement determines the actions of the other members of the group. Actors sometimes become the one coherent and harmonious team, or rather the organism.
Daria Kubisiak, A rhytmic unification, the online magazine „Teatralia”, nr 73/2013
PRÓG THEATRE
///// all-Poland Theatre Meetings in Tychy ///// Festival of Author’s Performances „Eksperymenteatralium” in Łódź ///// Festival of Polish Radio Theatre and Theatre of Polish Television „Dwa Brzegi” in Sopot ///// all-Poland Theatre Festival Scena „i” in Kraków ///// Festival of Film and Art „Dwa Brzegi” in Kazimierz Dolny ///// Witkacy’s Theatre in Zakopane ///// Theatre KulturschuppenGleis 1 in Meckenbeuren; Germany ///// International Festival Theatertage am See in Friedrichshafen; Germany ///// Internationales Theaterfestival in Donzdorf; Germany ///// Internationale Theatertreffs in Lörrach; Germany ///// International Theatre Festival “HerbstAkt” in Salzburg; Austria ///// International Theatre Festival „Modry Kocour” in Turnov; Czech Republic ///// International Theatre Festival „Źródła Pamięci. Szajna-Grotowski-Kantor” in Rzeszów and others.
PHOTO. JANUSZ GAWRON
PRÓG Theatre was founded in 2005 in Wadowice/Poland and since 2011 it also works as a NGO. From the beginning it co-operates with Wadowice’s Cultural Centre. The founder, director and artistic director is Bartosz Nowakowski. PRÓG is created by graduates and students of faculties such as: theatre studies, performance studies, socio-cultural animation, instrumental studies, artistic education and cultural studies. Besides of creating author’s performances and concerts PRÓG takes part in many artistic, cultural and social projects. They also run actor’s training, theatre, music, circus art and many other workshops in Poland and abroad. The previous performances of PRÓG were presented and awarded in numerous festivals and projects such as:
PHOTO. JANUSZ GAWRON
PHOTO. JANUSZ GAWRON
PHOTO. JANUSZ GAWRON
„90-120-90„ doesn’t belong to the world we learn from an advertisement of a happy family sitting at the table and eating cornflakes. It is rather the moment of the Big Bang. The beginning of a new world. The beginning of a new life. It’s a war. A real one. [...] It’s time of losing one’s life and the birth of a new one that changes the minds and bodies of those who give. [...] „Próg” theatre successfully deals with the story of the birth of the new being. The carnality is accompanied by a clear coating of sound, filling the troubled thoughts of spectators and actors, shouting and calming, complementing space with the eternal rhythm of existence. [...] Sooner or later comes the rest, the truce and the new music.
PHOTO. JANUSZ GAWRON
Jarosław Skupień, Próg thatre. 8 years of acting, geting to know oneself and the world, www.andrychow.pl, 11.10.2013
PRÓG Theatre
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PHOTO. JANUSZ GAWRON
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„Grupa Próg” Association UL. TEATRALNA 1 34-100 WADOWICE, Poland MOB. 506 697 000 MOB. 509 077 297 info@grupa-prog.pl