{"id":2903,"date":"2017-11-23T17:23:20","date_gmt":"2017-11-23T16:23:20","guid":{"rendered":"https:\/\/instytutpolski.pl\/brussels\/?p=2903"},"modified":"2020-05-04T17:25:40","modified_gmt":"2020-05-04T15:25:40","slug":"east-and-central-european-modernity-rebuilding-in-performing-arts","status":"publish","type":"post","link":"https:\/\/instytutpolski.pl\/brussels\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts\/","title":{"rendered":"East and Central European Modernity Rebuilding in Performing Arts"},"content":{"rendered":"\n<div class=\"desc\">\n<p>La conf\u00e9rence\u00a0<strong>Remembering 1918: East and Central European Modernity Rebuilding in Performing Arts<\/strong>\u00a0tenue \u00e0\u00a0<a href=\"https:\/\/www.bellone.be\/\" target=\"_blank\" rel=\"noopener noreferrer\">La Bellone &#8211; Maison du Spectacle<\/a>\u00a0les\u00a0<strong>23 et 24 novembre<\/strong>\u00a02017 trouve son argument dans le centenaire de la chute des empires europ\u00e9ens et la cr\u00e9ation des Etats-Nations d\u2019Europe centrale et orientale f\u00eat\u00e9 en 2018.\u00a0La naissance des nouveaux Etats fut accompagn\u00e9e d\u2019une double volont<span lang=\"FR\">\u00e9 de\u00a0s&#8217;interroger\u00a0sur la modernit\u00e9 et de cr\u00e9er une identit\u00e9 propre dans le concert d&#8217;une Europe multiple<\/span>. On r\u00e9fl\u00e9chit alors intens\u00e9ment aux formes qu\u2019elles devaient prendre dans la politique,\u00a0dans la soci\u00e9t\u00e9 et dans les arts.<br \/><br \/>La conf\u00e9rence\u00a0a pour but d&#8217;explorer les notions de\u00a0<em><strong>modernit\u00e9<\/strong><\/em>\u00a0et d&#8217;<strong><em>avant-garde<\/em>\u00a0<\/strong>et leurs avatars dans le\u00a0<strong>th\u00e9\u00e2tre<\/strong>, la\u00a0<strong>danse\u00a0<\/strong>et la\u00a0<strong>performance\u00a0<\/strong>gr\u00e2ce \u00e0 un dialogue entre\u00a0<strong>universitaires et artistes\u00a0<\/strong>venus de Hongrie, Lituanie, Pologne, R\u00e9publique tch\u00e8que, Roumanie et Slovaquie. Les premiers pr\u00e9senteront les recherches les plus r\u00e9centes sur le th\u00e8me des avant-gardes dans les arts de la sc\u00e8ne (dont\u00a0<a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,fr,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts?y=2017#DK\">Dariusz KOSI\u0143SKI<\/a>,\u00a0<a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,fr,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts?y=2017#JM\">Justyna MICHALIK<\/a>\u00a0et\u00a0<a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,fr,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts?y=2017#DW\">Dorota WALCZAK-DELANOIS<\/a>)\u00a0tandis que les seconds prendront la parole pour pr\u00e9ciser comment leurs pratiques font \u00e9chos aux r\u00e9flexions (politiques, artistiques, esth\u00e9tiques) n\u00e9es au lendemain de la Premi\u00e8re Guerre mondiale (notamment\u00a0<a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,fr,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts?y=2017#JL\">Joanna LE\u015aNIEROWSKA<\/a>,\u00a0<a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,fr,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts?y=2017#MD\">Monika DRO\u017bY\u0143SKA<\/a>,\u00a0<a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,fr,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts?y=2017#KCJ\">Katarzyna CHMIELEWSKA-JANKOWSKA<\/a>\u00a0et\u00a0<a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,fr,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts?y=2017#JT\">Jakub TRUSZKOWSKI<\/a>).<br \/><br \/>Ce dialogue sera la point de d\u00e9part d&#8217;un\u00a0<em>parcours-performance in situ<\/em>\u00a0cr\u00e9\u00e9 sp\u00e9cialement pour le b\u00e2timent du Palais des Beaux-Arts de Bruxelles pr\u00e9sent\u00e9 le\u00a0<strong>27 mai<\/strong>\u00a02018 dans le cadre du projet\u00a0<strong>Remembering 1918 \/ European Dreams of Becoming Modern<\/strong>.<br \/>A suivre&#8230;<br \/><strong><br \/>INFORMATIONS PRATIQUES<br \/><\/strong>&gt;&gt;&gt;\u00a0<strong>La Bellone &#8211; Maison du Spectacle\u00a0<\/strong>(Rue de Flandre 46, 1000 Bruxelles) &#8211;\u00a0<a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,fr,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts?y=2017#map\">voir la carte<\/a><br \/>&gt;&gt;&gt; jeudi\u00a0<strong>23\u00a0<\/strong>et<strong>\u00a0<\/strong>vendredi<strong>\u00a024 novembre<\/strong>\u00a02017 &#8211;\u00a0<strong>10 &gt; 17h<br \/><\/strong>&gt;&gt;&gt;\u00a0<strong>entr\u00e9e libre<br \/><\/strong>&gt;&gt;&gt;\u00a0<em>la conf\u00e9rence se tiendra\u00a0exclusivement\u00a0en anglais\u00a0<\/em><strong><br \/><\/strong><\/p>\n<hr \/>\n<p><a name=\"prog\"><\/a><br \/><strong>PROGRAMME<\/strong><br \/>\u00a0 \u00a0 \u00a0\u00a0 \u00a0<strong>\u00a023 novembre (session ouverte au public)\u00a0 \u00a0 \u00a0\u00a0 \u00a0<\/strong><br \/><br \/><strong>9h30<\/strong>\u00a0\u2013 accueil des participants<br \/><strong>10h\u00a0\u2013\u00a0<\/strong>ouverture officielle de la conf\u00e9rence<br \/>Sarah FLOCK (Universit\u00e9 Libre de Bruxelles, ULB)<br \/>Martina PECKOVA \u010cERNA (Arts and Theatre Institute Prague)<br \/>Jitka PANEK JURKOVA (Czech Centre Brussels)<br \/>Anna VONDRACEK (Palais des Beaux-Arts)<br \/><strong><br \/>10h45\u00a0\u2013\u00a0BLOCK I \u2013 First and Second Avant-Garde: Ruptures or Inspiration for todays\u2019 theatre?<\/strong><br \/>Mod\u00e9rateur : Sarah FLOCK (ULB)<\/p>\n<ul>\n<li><a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,fr,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts?y=2017#DW\">Dorota WALCZAK-DELANOIS<\/a>\u00a0(ULB):\u00a0<em>Dance Me to the End of My Poem: A Short Story of Synergy between Poets, Dancers and Painters in the Polish Interwar Period<\/em><\/li>\n<li>Dagmar KRO\u010cANOV\u00c1 (Universit\u00e9 Comenius, Bratislava, Slovaquie):\u00a0<em>Between Appeal and Refusal: Notes on Slovak Literary and Theatre Avant-Garde in the Interwar Period<\/em><\/li>\n<li>Martina MUSILOV\u00c1 (Universit\u00e9 Masaryk, Brno, R\u00e9publique tch\u00e8que):\u00a0<em>As you make your bed so you must lie on it (Czech avant-garde in the period 1920s &#8211; 1950s)<\/em><\/li>\n<li><a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,fr,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts?y=2017#DK\">Dariusz KOSI\u0143SKI<\/a>\u00a0(Institut th\u00e9\u00e2tral Zbigniew Raszewski, Varsovie, Pologne):\u00a0<em>Reclaimed Avant-garde<\/em><\/li>\n<\/ul>\n<p>13h\u00a0\u2013\u00a0lunch<strong><br \/><\/strong><br \/><strong>14h15\u00a0\u00a0\u2013\u00a0BLOCK II \u2013 Artists Face the Avant-Garde (Presentations and personal statements of artists involved in\u00a0<\/strong><strong>the artistic creation for 2018<br \/><\/strong><\/p>\n<ul>\n<li>Mi\u0159enka \u010cECHOV\u00c1 (danseuse et metteur en sc\u00e8ne, R\u00e9publique tch\u00e8que)<\/li>\n<li>Stanislav DOB\u00c1K (danseur, Slovaquie)\u00a0<\/li>\n<\/ul>\n<p>Mod\u00e9ratrice : Martina PECKOV\u00c1 \u010cERN\u00c1<\/p>\n<ul>\n<li><a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,fr,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts?y=2017#KCJ\">Katarzyna CHMIELEWSKA-JANKOWSKA<\/a>\u00a0et\u00a0<a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,fr,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts?y=2017#JK\">Jakub TRUSZKOWSKI<\/a>\u00a0(danseurs,\u00a0<a href=\"http:\/\/www.dadateatr.pl\/\" target=\"_blank\" rel=\"noopener noreferrer\">Dada von Bzdulow dance company<\/a>, Pologne)<\/li>\n<li><a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,fr,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts?y=2017#JL\">Joanna LE\u015aNIEROWSKA<\/a>\u00a0(Pologne)<\/li>\n<li><a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,fr,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts?y=2017#MD\">Monika DRO\u017bY\u0143SKA<\/a>\u00a0(Pologne)<\/li>\n<\/ul>\n<p>Mod\u00e9ratrices : Edyta ZIELNIK et Anna GALAS-KOSIL<\/p>\n<ul>\n<li>Farid FAIRUZ (Roumanie)<\/li>\n<li>Agnia \u0160EIJKO (Lituanie)<\/li>\n<li>Boglarka B\u00d6RCS\u00d6K (Hongrie)\u00a0<\/li>\n<li>Johanne SAUNIER et Ine CLAES (Belgique)<\/li>\n<\/ul>\n<p>Mod\u00e9ratrice : Iulia POPOVICI<br \/><br \/>\u00a0 \u00a0 \u00a0\u00a0 \u00a0<strong>\u00a024 novembre (matinee ouverte au public)\u00a0 \u00a0 \u00a0 \u00a0\u00a0<br \/><br \/><\/strong><strong>10h \u2013\u00a0BLOCK III \u2013 First and Second Avant-Garde: Ruptures or Inspiration for todays\u2019 theatre?<\/strong>\u00a0(apr\u00e8s 1945)<br \/>Mod\u00e9rateur : Karel VANHAESENBROUCK<\/p>\n<ul>\n<li>Iulia POPOVICI (Universit\u00e9 des Arts T\u00eergu Mure\u015f\/M\u00e1rosv\u00e1s\u00e1rhely, Roumanie):\u00a0<em>Legacy of Romanian Avant-Garde<\/em><\/li>\n<li>Judit GAL\u00c1CZ (ELTE University):\u00a0<em>The Hungarian Theatre Avant-Garde and the Green Donkey Theatre<\/em><\/li>\n<li>Jitka PAVLI\u0160OV\u00c1 (R\u00e9publique tch\u00e8que):\u00a0<em>Czech Dance Avant-Garde in the Context of Modern\/Expressive Dance (R)evolution in Central Europe<\/em><\/li>\n<li>Justyna MICHALIK (Institut des Arts de l\u2019Acad\u00e9mie Polonaise des Sciences):\u00a0<em>Theater in un-obvious spaces \u2013 Cricot and Cricot 2<\/em><\/li>\n<\/ul>\n<p>12h45 \u2013 lunch<br \/><br \/><strong>14h30<\/strong>\u00a0\u2013 Discussions et pr\u00e9paration des projets pour 2018 (session priv\u00e9e)<\/p>\n<hr \/>\n<p><a name=\"MD\"><\/a><br \/><strong>Monika DRO\u017bY\u0143SKA<\/strong><br \/>an artist, designer and initiator of collaborative projects presented in a public space, among others &#8222;The Point&#8221; (2004-2010), &#8222;Sew your cultural centre&#8221; (2008-2009), &#8222;Urban embroidery&#8221; (2010-2011). She participated in both individual and group exhibitions, among others at the Ujazdowski Castle Centre for Contemporary Art, Zach\u0119ta National Art Gallery (2010-2013), \u0141a\u017ania Centre for Contemporay Art, Gda\u0144sk (2008), Kronika Centre for Contemporary Art, Bytom (2013, 2014), Grand Theatre &#8211; National Opera, Warsaw (2011), MOCAK Museum of Contemporary Art, Cracow (2010). Her works are in the collection of Bunkier Sztuki Gallery of Contemporary Art and National Museum in Cracow. She was a scholarship holder of the Ministry of Culture and National Heritage (2010) and the Visegrad Artist Residency Program (2012). She was a laureate of competitions Kulturysta of the Polish Radio Program 3 (2011) and Kulturalne Odloty of Gazeta Wyborcza (2008). Monika was also nominated to the award &#8222;Polityka&#8221; Passports (2012, 2013). She is a founder of the Hands of Gold Embroidery School for Ladies and Gentlemen and member of the collective Hands of Gold. Monika lives and works in Cracow.<br \/><a name=\"DK\"><\/a><br \/><strong>Katarzyna CHMIELEWSKA-JANKOWSKA<\/strong><br \/>graduated from the National Ballet School in Gda\u0144sk (1984-1993), studied at<br \/>P.A.R.T.S in Brussels (1996-1997); in 1993-1994 danced at the Ballet Group of the Baltic<br \/>State Opera House in Gda\u0144sk, and in Gda\u0144sk Dance Theatre (1994-1995). Since 1992,<br \/>together with Leszek Bzdyl, she has run the Dada von Bzd\u00fcl\u00f6w Theatre; since 2008<br \/>given the support of Gdansk City Council, regularly staging and presenting its repertoire<br \/>at Wybrze\u017ce Theatre, Gda\u0144sk. She holds the position of Artistic Director and Chief<br \/>Executive in Dada Theatre, since 2008 run in the form of Association (NGO). She has<br \/>been selected by the Polish Institute of Music and Dance \/IMiT\/ as one of the key coorganisers\u00a0of 2019 Polish Dance Platform in Gda\u0144sk. As part of her artistic career in the<br \/>theatre, she&#8217;s run workshops of contemporary dance technique and improvisation, eg.<br \/>Dada Hub at the Bay of Art in Sopot (annual choreographic summer workshop), she&#8217;s<br \/>made original choreographies, such as &#8222;so beautiful&#8221; (2002), &#8222;Complexion&#8221; (2007),<br \/>&#8222;FRUU&#8221; (2011), &#8222;Why don&#8217;t you like sadness? (2016), and co-created and appeared in<br \/>most dada productions, including &#8222;Magnolia&#8221; (2003), &#8222;Several Witty Observations&#8221;<br \/>(2004) \/ performance produced within Trans Dance Europe Network and shown eg. at<br \/>LaMaMa in New York (2006\/07) or in India (2007) \/, &#8222;Factor T&#8221; (2008) coproduced<br \/>with Dance Advance, Philadelphia &amp; Art Station Foundation, Pozna\u0144; &#8222;Red Grass&#8221;<br \/>(2009), &#8222;Caff\u00e8 Latte&#8221; (2009), &#8222;Le Sacre&#8221; (2010), &#8222;Invisible Duets&#8221; (2012) \/ performance<br \/>shown eg. in South Korea (2012) and China (2012) \/, &#8222;Play it, so 17 dances about<br \/>something&#8221; (2013), &#8222;INTRO&#8221; (2015) \/ performance shown eg. in New York within<br \/>Rehearsal for Truth Festival in Sept 2017\/, &#8222;Today, Everything&#8221; (premiere 2017). She&#8217;s<br \/>been a regular contributor to the performances of other choreographers eg. Roberto<br \/>Olivan, Malgven Gerbes and David Brandst\u00e4tter, as well as has created scenic movement<br \/>for drama theatres. Awarded in 2012 by the Mayor of Gda\u0144sk and Marshal of the<br \/>Pomeranian Region for lifetime outstanding artistic achievements.<br \/><a name=\"DK\"><\/a><br \/><strong>prof. Dariusz KOSI\u0143SKI<\/strong><br \/>a professor at the Performance Studies Department of the Jagiellonian University, Cracow, Poland. At the beginning of his career he researched the theory and history of 19th century acting, publishing two books on the subject and editing the series of source materials. Later he focused on the tradition he had called the Polish theatre of transformation, developed by the most important Polish artists from Adam Mickiewicz to Jerzy Grotowski. His main publications in the field are: &#8222;Polski teatr przemiany&#8221; (Wroc\u0142aw 2007) i &#8222;Grotowski. Przewodnik&#8221; (Wroc\u0142aw 2009). He is the author of the history of Polish theater and performances &#8222;Teatra polskie. Historie&#8221; (Warsaw 2010) \u2013 the book was also published in German and Chinese. From 2010 till the end of 2013 he was the programme director of the Grotowski Institute in Wroc\u0142aw. He was the member of the editorial board of the Jerzy Grotowski collected texts, published in Polish in 2012. From 2014 he is the research director of the Zbigniew Raszewski Theatre Institute in Warsaw. His latest publications include a book on the performances after the cathastrophy of the presidential plane in Smolensk (Teatra polskie. Rok katastrofy, Warsaw 2013), a monography of the early performances by Jerzy Grotowski (&#8222;Grotowski. Profanacje&#8221;, Wroc\u0142aw 2015) and the collection of essays on performance studies (&#8222;Performatyka. W(y)prowadzenia&#8221;, Cracow 2016).<br \/><a name=\"JL\"><\/a><br \/><strong>Joanna LE\u015aNIEROWSKA<\/strong><br \/>a dramaturge, dance curator and performance maker. She published on dance for major Polish theatre papers and lectured on Polish choreography in universities in Poland (Pozna\u0144 and Cracow) and at numerous conferences abroad; since 2004 she runs performative program of Art Stations Foundation (<a href=\"http:\/\/www.artstationsfoundation.pl\/\" target=\"_blank\" rel=\"noopener noreferrer\">www.artstationsfoundation.pl<\/a>) in Pozna\u0144 (known as Old Brewery New Dance Programme) which presents the latest achievements in contemporary choreography and strongly supports choreographic development of Polish artists. In years 2011-2014 Lesnierowska was a member of Advisory Board for Music and Dance Institute in Warsaw. Parallel to her curatorial work, Joanna developed practice as an artistic coach to young choreographers and as a dramaturge and light designer to a number of Polish and international artists, including Janusz Orlik, Renata Piotrowska, Anna Nowicka, Arkadi Zaides, Lia Haraki, Jurij Konjar and M\u00e1rta Ladj\u00e1nszki. In 2003-2008 Joanna was coruning a dance collective and association Towarzystwo Gimnastyczne within which she co-created and toured three choreographic works. Since 2011 she creates also her own works (&#8222;reconstruction&#8221;, 2011; &#8222;\u2026(rooms by the sea)&#8221;, 2014; &#8222;Leavening&#8221;, 2016; &#8222;blur&#8221;, 2017). For co-creation of a solo &#8222;Insight&#8221; (together with Janusz Orlik), in a frame of Polish Dance Platform 2014 she received the Polish Minister of Culture\u2019s award for best choreography.<br \/><a name=\"JM\"><\/a><br \/><strong>Justyna MICHALIK<\/strong><br \/>a PhD student at the Institute of Art of the Polish Academy of Sciences, co-editor of numerous books and exhibition catalogues published on the occasion of exhibitions organized by the Centre for the Documentation of the Art of Tadeusz Kantor &#8222;Cricoteka&#8221; in Cracow. Author of the book &#8222;Idea bardzo konsekwentna. Happening i Teatr Happeningowy Tadeusza Kantora&#8221; (Cracow, 2015). Member of Theatre Researchers Forum \u2013 a collective which promotes democratization of the discourse on theatre.<br \/><a name=\"JK\"><\/a><br \/><strong>Jakub TRUSZKOWSKI<\/strong><br \/>Jakub Truszkowski started his dance training in 1987 at the State Ballet School in Gdansk, where he obtained his degree in 1996. Between 1994 and 1996, as a student he performed in several classical pieces at the Opera House of Gdansk. In 1996 he was admitted to Anne Teresa De Keersmaeker\u2019s contemporarry dance school P.A.R.T.S. After graduating in 1999 he joined the company Rosas where between 2000-2006 and 2010-2016, he performed in Drumming, Mozart \/ Concert Arias, Grosse Fuge and Mikrokosmos and participating to the creation of In Real Time, Rain, April Me, Repertory Evening XX, Bitches Brew \/ Tacoma Narrows and Kassandra. In 2007 he joined the company Les Ballets C de la B, dancing in Import Export and Ashes.<br \/>Between 2013-2015 he was a program coordinator at P.A.R.T.S. He is a guest teacher at P.A.R.T.S. And several other places including De Theaterschool \/ Amsterdam and The Folkwang University of the Arts \/ Essen, Springboard \/ Montreal and Rosas dance company.<br \/>As a rehearsal director, he staged Rosas repertory at P.A.R.T.S., Op\u00e9ra de Lyon, Op\u00e9ra de Paris, Gothemburg Opera and Companhia Nacional de Bailado of Portugal.<br \/>His personal creations include: Solo For The Projector, Bodyscapes, Walking Duet, Memory Reset, White Noise, Dzisiaj Wszystko.<br \/>He is a co-founder and a performer at The House of Bertha dance collective in Brussels.<br \/><a name=\"DW\"><\/a><br \/><strong>Dorota WALCZAK-DELANOIS<\/strong>, PhD<strong><br \/><\/strong>a lecturer at the ULB, responsible for Polish language and culture who has authored several books on poetry, especially the Polish avant-garde. She serves on numerous editorial and academic boards, and on the Wis\u0142awa Szymborska Award jury. Besides being a painter and poet, she is also a great lover of dancing.<\/p>\n<hr \/>\n<p>\u00a0<\/p>\n<\/div>\n<h3 class=\"boxTitle\">Galerie d\u2019images<\/h3>\n<div id=\"gallery\" class=\"thumbs\"><a title=\"\" href=\"http:\/\/www.culturepolonaise.eu\/99,99,0,fr?bn=445___La_Bellone997957&amp;ex=jpg&amp;t=image&amp;mt=image%2Fjpeg&amp;width=587&amp;height=587\"><img decoding=\"async\" src=\"http:\/\/www.culturepolonaise.eu\/99,99,0,fr?bn=445___La_Bellone997957&amp;ex=jpg&amp;t=image&amp;mt=image%2Fjpeg&amp;width=550&amp;height=120\" alt=\"\" \/><\/a>\u00a0<a title=\"Archives Arts and Theater Institute, Prague\" href=\"http:\/\/www.culturepolonaise.eu\/99,99,0,fr?bn=445___La_Bellone_2588277&amp;ex=jpg&amp;t=image&amp;mt=image%2Fjpeg&amp;width=587&amp;height=587\"><img decoding=\"async\" src=\"http:\/\/www.culturepolonaise.eu\/99,99,0,fr?bn=445___La_Bellone_2588277&amp;ex=jpg&amp;t=image&amp;mt=image%2Fjpeg&amp;width=550&amp;height=120\" alt=\"Archives Arts and Theater Institute, Prague\" \/><\/a><\/div>\n","protected":false},"excerpt":{"rendered":"<p>La conf\u00e9rence\u00a0Remembering 1918: East and Central European Modernity Rebuilding in Performing Arts\u00a0tenue \u00e0\u00a0La Bellone &#8211; Maison du Spectacle\u00a0les\u00a023 et 24 novembre\u00a02017 trouve son argument dans le centenaire de la chute des empires europ\u00e9ens et la cr\u00e9ation des Etats-Nations d\u2019Europe centrale et orientale f\u00eat\u00e9 en 2018.\u00a0La naissance des nouveaux Etats fut accompagn\u00e9e d\u2019une double volont\u00e9 de\u00a0s&#8217;interroger\u00a0sur [&hellip;]<\/p>\n","protected":false},"author":127,"featured_media":2904,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[124],"tags":[],"class_list":["post-2903","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-theatre-fr"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>East and Central European Modernity Rebuilding in Performing Arts - Instytut Polski w Brukseli<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/instytutpolski.pl\/brussels\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts\/\" \/>\n<meta property=\"og:locale\" content=\"pl_PL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"East and Central European Modernity Rebuilding in Performing Arts - Instytut Polski w Brukseli\" \/>\n<meta property=\"og:description\" content=\"La conf\u00e9rence\u00a0Remembering 1918: East and Central European Modernity Rebuilding in Performing Arts\u00a0tenue \u00e0\u00a0La Bellone &#8211; Maison du Spectacle\u00a0les\u00a023 et 24 novembre\u00a02017 trouve son argument dans le centenaire de la chute des empires europ\u00e9ens et la cr\u00e9ation des Etats-Nations d\u2019Europe centrale et orientale f\u00eat\u00e9 en 2018.\u00a0La naissance des nouveaux Etats fut accompagn\u00e9e d\u2019une double volont\u00e9 de\u00a0s&#8217;interroger\u00a0sur [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/instytutpolski.pl\/brussels\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts\/\" \/>\n<meta property=\"og:site_name\" content=\"Instytut Polski w Brukseli\" \/>\n<meta property=\"article:published_time\" content=\"2017-11-23T16:23:20+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-05-04T15:25:40+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-2.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"572\" \/>\n\t<meta property=\"og:image:height\" content=\"358\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"dyjakn\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Napisane przez\" \/>\n\t<meta name=\"twitter:data1\" content=\"dyjakn\" \/>\n\t<meta name=\"twitter:label2\" content=\"Szacowany czas czytania\" \/>\n\t<meta name=\"twitter:data2\" content=\"9 minut\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"event\",\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts\/\",\"url\":\"https:\/\/instytutpolski.pl\/brussels\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts\/\",\"name\":\"East and Central European Modernity Rebuilding in Performing Arts\",\"isPartOf\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts\/#primaryimage\"},\"image\":[\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-2.jpg\",\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-2-300x188.jpg\",\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-2.jpg\",\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-2.jpg\"],\"thumbnailUrl\":\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-2.jpg\",\"datePublished\":\"2017-11-23T16:23:20+02:00\",\"dateModified\":\"2020-05-04T15:25:40+02:00\",\"author\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/#\/schema\/person\/ccb27e6f37dc023e9a8d394b9bc37c18\"},\"breadcrumb\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts\/#breadcrumb\"},\"inLanguage\":\"pl-PL\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/instytutpolski.pl\/brussels\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts\/\"]}],\"@context\":\"https:\/\/schema.org\",\"startDate\":\"2017-11-23\",\"endDate\":\"2017-11-24\",\"eventStatus\":\"EventScheduled\",\"eventAttendanceMode\":\"OfflineEventAttendanceMode\",\"location\":{\"@type\":\"place\",\"name\":\"\",\"address\":\"\",\"geo\":{\"@type\":\"GeoCoordinates\",\"latitude\":\"\",\"longitude\":\"\"}},\"description\":\"La conf\u00e9rence\u00a0Remembering 1918: East and Central European Modernity Rebuilding in Performing Arts\u00a0tenue \u00e0\u00a0La Bellone - Maison du Spectacle\u00a0les\u00a023 et 24 novembre\u00a02017 trouve son argument dans le centenaire de la chute des empires europ\u00e9ens et la cr\u00e9ation des Etats-Nations d\u2019Europe centrale et orientale f\u00eat\u00e9 en 2018.\u00a0La naissance des nouveaux Etats fut accompagn\u00e9e d\u2019une double volont\u00e9 de\u00a0s'interroger\u00a0sur la modernit\u00e9 et de cr\u00e9er une identit\u00e9 propre dans le concert d'une Europe multiple. On r\u00e9fl\u00e9chit alors intens\u00e9ment aux formes qu\u2019elles devaient prendre dans la politique,\u00a0dans la soci\u00e9t\u00e9 et dans les arts.La conf\u00e9rence\u00a0a pour but d'explorer les notions de\u00a0modernit\u00e9\u00a0et d'avant-garde\u00a0et leurs avatars dans le\u00a0th\u00e9\u00e2tre, la\u00a0danse\u00a0et la\u00a0performance\u00a0gr\u00e2ce \u00e0 un dialogue entre\u00a0universitaires et artistes\u00a0venus de Hongrie, Lituanie, Pologne, R\u00e9publique tch\u00e8que, Roumanie et Slovaquie. Les premiers pr\u00e9senteront les recherches les plus r\u00e9centes sur le th\u00e8me des avant-gardes dans les arts de la sc\u00e8ne (dont\u00a0Dariusz KOSI\u0143SKI,\u00a0Justyna MICHALIK\u00a0et\u00a0Dorota WALCZAK-DELANOIS)\u00a0tandis que les seconds prendront la parole pour pr\u00e9ciser comment leurs pratiques font \u00e9chos aux r\u00e9flexions (politiques, artistiques, esth\u00e9tiques) n\u00e9es au lendemain de la Premi\u00e8re Guerre mondiale (notamment\u00a0Joanna LE\u015aNIEROWSKA,\u00a0Monika DRO\u017bY\u0143SKA,\u00a0Katarzyna CHMIELEWSKA-JANKOWSKA\u00a0et\u00a0Jakub TRUSZKOWSKI).Ce dialogue sera la point de d\u00e9part d'un\u00a0parcours-performance in situ\u00a0cr\u00e9\u00e9 sp\u00e9cialement pour le b\u00e2timent du Palais des Beaux-Arts de Bruxelles pr\u00e9sent\u00e9 le\u00a027 mai\u00a02018 dans le cadre du projet\u00a0Remembering 1918 \/ European Dreams of Becoming Modern.A suivre...INFORMATIONS PRATIQUES&gt;&gt;&gt;\u00a0La Bellone - Maison du Spectacle\u00a0(Rue de Flandre 46, 1000 Bruxelles) -\u00a0voir la carte&gt;&gt;&gt; jeudi\u00a023\u00a0et\u00a0vendredi\u00a024 novembre\u00a02017 -\u00a010 &gt; 17h&gt;&gt;&gt;\u00a0entr\u00e9e libre&gt;&gt;&gt;\u00a0la conf\u00e9rence se tiendra\u00a0exclusivement\u00a0en anglais\u00a0\\nPROGRAMME\u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a023 novembre (session ouverte au public)\u00a0 \u00a0 \u00a0\u00a0 \u00a09h30\u00a0\u2013 accueil des participants10h\u00a0\u2013\u00a0ouverture officielle de la conf\u00e9renceSarah FLOCK (Universit\u00e9 Libre de Bruxelles, ULB)Martina PECKOVA \u010cERNA (Arts and Theatre Institute Prague)Jitka PANEK JURKOVA (Czech Centre Brussels)Anna VONDRACEK (Palais des Beaux-Arts)10h45\u00a0\u2013\u00a0BLOCK I \u2013 First and Second Avant-Garde: Ruptures or Inspiration for todays\u2019 theatre?Mod\u00e9rateur : Sarah FLOCK (ULB)\\nDorota WALCZAK-DELANOIS\u00a0(ULB):\u00a0Dance Me to the End of My Poem: A Short Story of Synergy between Poets, Dancers and Painters in the Polish Interwar Period\\nDagmar KRO\u010cANOV\u00c1 (Universit\u00e9 Comenius, Bratislava, Slovaquie):\u00a0Between Appeal and Refusal: Notes on Slovak Literary and Theatre Avant-Garde in the Interwar Period\\nMartina MUSILOV\u00c1 (Universit\u00e9 Masaryk, Brno, R\u00e9publique tch\u00e8que):\u00a0As you make your bed so you must lie on it (Czech avant-garde in the period 1920s - 1950s)\\nDariusz KOSI\u0143SKI\u00a0(Institut th\u00e9\u00e2tral Zbigniew Raszewski, Varsovie, Pologne):\u00a0Reclaimed Avant-garde\\n13h\u00a0\u2013\u00a0lunch14h15\u00a0\u00a0\u2013\u00a0BLOCK II \u2013 Artists Face the Avant-Garde (Presentations and personal statements of artists involved in\u00a0the artistic creation for 2018\\nMi\u0159enka \u010cECHOV\u00c1 (danseuse et metteur en sc\u00e8ne, R\u00e9publique tch\u00e8que)\\nStanislav DOB\u00c1K (danseur, Slovaquie)\u00a0\\nMod\u00e9ratrice : Martina PECKOV\u00c1 \u010cERN\u00c1\\nKatarzyna CHMIELEWSKA-JANKOWSKA\u00a0et\u00a0Jakub TRUSZKOWSKI\u00a0(danseurs,\u00a0Dada von Bzdulow dance company, Pologne)\\nJoanna LE\u015aNIEROWSKA\u00a0(Pologne)\\nMonika DRO\u017bY\u0143SKA\u00a0(Pologne)\\nMod\u00e9ratrices : Edyta ZIELNIK et Anna GALAS-KOSIL\\nFarid FAIRUZ (Roumanie)\\nAgnia \u0160EIJKO (Lituanie)\\nBoglarka B\u00d6RCS\u00d6K (Hongrie)\u00a0\\nJohanne SAUNIER et Ine CLAES (Belgique)\\nMod\u00e9ratrice : Iulia POPOVICI\u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a024 novembre (matinee ouverte au public)\u00a0 \u00a0 \u00a0 \u00a0\u00a010h \u2013\u00a0BLOCK III \u2013 First and Second Avant-Garde: Ruptures or Inspiration for todays\u2019 theatre?\u00a0(apr\u00e8s 1945)Mod\u00e9rateur : Karel VANHAESENBROUCK\\nIulia POPOVICI (Universit\u00e9 des Arts T\u00eergu Mure\u015f\/M\u00e1rosv\u00e1s\u00e1rhely, Roumanie):\u00a0Legacy of Romanian Avant-Garde\\nJudit GAL\u00c1CZ (ELTE University):\u00a0The Hungarian Theatre Avant-Garde and the Green Donkey Theatre\\nJitka PAVLI\u0160OV\u00c1 (R\u00e9publique tch\u00e8que):\u00a0Czech Dance Avant-Garde in the Context of Modern\/Expressive Dance (R)evolution in Central Europe\\nJustyna MICHALIK (Institut des Arts de l\u2019Acad\u00e9mie Polonaise des Sciences):\u00a0Theater in un-obvious spaces \u2013 Cricot and Cricot 2\\n12h45 \u2013 lunch14h30\u00a0\u2013 Discussions et pr\u00e9paration des projets pour 2018 (session priv\u00e9e)\\nMonika DRO\u017bY\u0143SKAan artist, designer and initiator of collaborative projects presented in a public space, among others \\\"The Point\\\" (2004-2010), \\\"Sew your cultural centre\\\" (2008-2009), \\\"Urban embroidery\\\" (2010-2011). She participated in both individual and group exhibitions, among others at the Ujazdowski Castle Centre for Contemporary Art, Zach\u0119ta National Art Gallery (2010-2013), \u0141a\u017ania Centre for Contemporay Art, Gda\u0144sk (2008), Kronika Centre for Contemporary Art, Bytom (2013, 2014), Grand Theatre - National Opera, Warsaw (2011), MOCAK Museum of Contemporary Art, Cracow (2010). Her works are in the collection of Bunkier Sztuki Gallery of Contemporary Art and National Museum in Cracow. She was a scholarship holder of the Ministry of Culture and National Heritage (2010) and the Visegrad Artist Residency Program (2012). She was a laureate of competitions Kulturysta of the Polish Radio Program 3 (2011) and Kulturalne Odloty of Gazeta Wyborcza (2008). Monika was also nominated to the award \\\"Polityka\\\" Passports (2012, 2013). She is a founder of the Hands of Gold Embroidery School for Ladies and Gentlemen and member of the collective Hands of Gold. Monika lives and works in Cracow.Katarzyna CHMIELEWSKA-JANKOWSKAgraduated from the National Ballet School in Gda\u0144sk (1984-1993), studied atP.A.R.T.S in Brussels (1996-1997); in 1993-1994 danced at the Ballet Group of the BalticState Opera House in Gda\u0144sk, and in Gda\u0144sk Dance Theatre (1994-1995). Since 1992,together with Leszek Bzdyl, she has run the Dada von Bzd\u00fcl\u00f6w Theatre; since 2008given the support of Gdansk City Council, regularly staging and presenting its repertoireat Wybrze\u017ce Theatre, Gda\u0144sk. She holds the position of Artistic Director and ChiefExecutive in Dada Theatre, since 2008 run in the form of Association (NGO). She hasbeen selected by the Polish Institute of Music and Dance \/IMiT\/ as one of the key coorganisers\u00a0of 2019 Polish Dance Platform in Gda\u0144sk. As part of her artistic career in thetheatre, she's run workshops of contemporary dance technique and improvisation, eg.Dada Hub at the Bay of Art in Sopot (annual choreographic summer workshop), she'smade original choreographies, such as \\\"so beautiful\\\" (2002), \\\"Complexion\\\" (2007),\\\"FRUU\\\" (2011), \\\"Why don't you like sadness? (2016), and co-created and appeared inmost dada productions, including \\\"Magnolia\\\" (2003), \\\"Several Witty Observations\\\"(2004) \/ performance produced within Trans Dance Europe Network and shown eg. atLaMaMa in New York (2006\/07) or in India (2007) \/, \\\"Factor T\\\" (2008) coproducedwith Dance Advance, Philadelphia &amp; Art Station Foundation, Pozna\u0144; \\\"Red Grass\\\"(2009), \\\"Caff\u00e8 Latte\\\" (2009), \\\"Le Sacre\\\" (2010), \\\"Invisible Duets\\\" (2012) \/ performanceshown eg. in South Korea (2012) and China (2012) \/, \\\"Play it, so 17 dances aboutsomething\\\" (2013), \\\"INTRO\\\" (2015) \/ performance shown eg. in New York withinRehearsal for Truth Festival in Sept 2017\/, \\\"Today, Everything\\\" (premiere 2017). She'sbeen a regular contributor to the performances of other choreographers eg. RobertoOlivan, Malgven Gerbes and David Brandst\u00e4tter, as well as has created scenic movementfor drama theatres. Awarded in 2012 by the Mayor of Gda\u0144sk and Marshal of thePomeranian Region for lifetime outstanding artistic achievements.prof. Dariusz KOSI\u0143SKIa professor at the Performance Studies Department of the Jagiellonian University, Cracow, Poland. At the beginning of his career he researched the theory and history of 19th century acting, publishing two books on the subject and editing the series of source materials. Later he focused on the tradition he had called the Polish theatre of transformation, developed by the most important Polish artists from Adam Mickiewicz to Jerzy Grotowski. His main publications in the field are: \\\"Polski teatr przemiany\\\" (Wroc\u0142aw 2007) i \\\"Grotowski. Przewodnik\\\" (Wroc\u0142aw 2009). He is the author of the history of Polish theater and performances \\\"Teatra polskie. Historie\\\" (Warsaw 2010) \u2013 the book was also published in German and Chinese. From 2010 till the end of 2013 he was the programme director of the Grotowski Institute in Wroc\u0142aw. He was the member of the editorial board of the Jerzy Grotowski collected texts, published in Polish in 2012. From 2014 he is the research director of the Zbigniew Raszewski Theatre Institute in Warsaw. His latest publications include a book on the performances after the cathastrophy of the presidential plane in Smolensk (Teatra polskie. Rok katastrofy, Warsaw 2013), a monography of the early performances by Jerzy Grotowski (\\\"Grotowski. Profanacje\\\", Wroc\u0142aw 2015) and the collection of essays on performance studies (\\\"Performatyka. W(y)prowadzenia\\\", Cracow 2016).Joanna LE\u015aNIEROWSKAa dramaturge, dance curator and performance maker. She published on dance for major Polish theatre papers and lectured on Polish choreography in universities in Poland (Pozna\u0144 and Cracow) and at numerous conferences abroad; since 2004 she runs performative program of Art Stations Foundation (www.artstationsfoundation.pl) in Pozna\u0144 (known as Old Brewery New Dance Programme) which presents the latest achievements in contemporary choreography and strongly supports choreographic development of Polish artists. In years 2011-2014 Lesnierowska was a member of Advisory Board for Music and Dance Institute in Warsaw. Parallel to her curatorial work, Joanna developed practice as an artistic coach to young choreographers and as a dramaturge and light designer to a number of Polish and international artists, including Janusz Orlik, Renata Piotrowska, Anna Nowicka, Arkadi Zaides, Lia Haraki, Jurij Konjar and M\u00e1rta Ladj\u00e1nszki. In 2003-2008 Joanna was coruning a dance collective and association Towarzystwo Gimnastyczne within which she co-created and toured three choreographic works. Since 2011 she creates also her own works (\\\"reconstruction\\\", 2011; \\\"\u2026(rooms by the sea)\\\", 2014; \\\"Leavening\\\", 2016; \\\"blur\\\", 2017). For co-creation of a solo \\\"Insight\\\" (together with Janusz Orlik), in a frame of Polish Dance Platform 2014 she received the Polish Minister of Culture\u2019s award for best choreography.Justyna MICHALIKa PhD student at the Institute of Art of the Polish Academy of Sciences, co-editor of numerous books and exhibition catalogues published on the occasion of exhibitions organized by the Centre for the Documentation of the Art of Tadeusz Kantor \\\"Cricoteka\\\" in Cracow. Author of the book \\\"Idea bardzo konsekwentna. Happening i Teatr Happeningowy Tadeusza Kantora\\\" (Cracow, 2015). Member of Theatre Researchers Forum \u2013 a collective which promotes democratization of the discourse on theatre.Jakub TRUSZKOWSKIJakub Truszkowski started his dance training in 1987 at the State Ballet School in Gdansk, where he obtained his degree in 1996. Between 1994 and 1996, as a student he performed in several classical pieces at the Opera House of Gdansk. In 1996 he was admitted to Anne Teresa De Keersmaeker\u2019s contemporarry dance school P.A.R.T.S. After graduating in 1999 he joined the company Rosas where between 2000-2006 and 2010-2016, he performed in Drumming, Mozart \/ Concert Arias, Grosse Fuge and Mikrokosmos and participating to the creation of In Real Time, Rain, April Me, Repertory Evening XX, Bitches Brew \/ Tacoma Narrows and Kassandra. In 2007 he joined the company Les Ballets C de la B, dancing in Import Export and Ashes.Between 2013-2015 he was a program coordinator at P.A.R.T.S. He is a guest teacher at P.A.R.T.S. And several other places including De Theaterschool \/ Amsterdam and The Folkwang University of the Arts \/ Essen, Springboard \/ Montreal and Rosas dance company.As a rehearsal director, he staged Rosas repertory at P.A.R.T.S., Op\u00e9ra de Lyon, Op\u00e9ra de Paris, Gothemburg Opera and Companhia Nacional de Bailado of Portugal.His personal creations include: Solo For The Projector, Bodyscapes, Walking Duet, Memory Reset, White Noise, Dzisiaj Wszystko.He is a co-founder and a performer at The House of Bertha dance collective in Brussels.Dorota WALCZAK-DELANOIS, PhDa lecturer at the ULB, responsible for Polish language and culture who has authored several books on poetry, especially the Polish avant-garde. She serves on numerous editorial and academic boards, and on the Wis\u0142awa Szymborska Award jury. 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On r\u00e9fl\u00e9chit alors intens\u00e9ment aux formes qu\u2019elles devaient prendre dans la politique,\u00a0dans la soci\u00e9t\u00e9 et dans les arts.La conf\u00e9rence\u00a0a pour but d'explorer les notions de\u00a0modernit\u00e9\u00a0et d'avant-garde\u00a0et leurs avatars dans le\u00a0th\u00e9\u00e2tre, la\u00a0danse\u00a0et la\u00a0performance\u00a0gr\u00e2ce \u00e0 un dialogue entre\u00a0universitaires et artistes\u00a0venus de Hongrie, Lituanie, Pologne, R\u00e9publique tch\u00e8que, Roumanie et Slovaquie. Les premiers pr\u00e9senteront les recherches les plus r\u00e9centes sur le th\u00e8me des avant-gardes dans les arts de la sc\u00e8ne (dont\u00a0Dariusz KOSI\u0143SKI,\u00a0Justyna MICHALIK\u00a0et\u00a0Dorota WALCZAK-DELANOIS)\u00a0tandis que les seconds prendront la parole pour pr\u00e9ciser comment leurs pratiques font \u00e9chos aux r\u00e9flexions (politiques, artistiques, esth\u00e9tiques) n\u00e9es au lendemain de la Premi\u00e8re Guerre mondiale (notamment\u00a0Joanna LE\u015aNIEROWSKA,\u00a0Monika DRO\u017bY\u0143SKA,\u00a0Katarzyna CHMIELEWSKA-JANKOWSKA\u00a0et\u00a0Jakub TRUSZKOWSKI).Ce dialogue sera la point de d\u00e9part d'un\u00a0parcours-performance in situ\u00a0cr\u00e9\u00e9 sp\u00e9cialement pour le b\u00e2timent du Palais des Beaux-Arts de Bruxelles pr\u00e9sent\u00e9 le\u00a027 mai\u00a02018 dans le cadre du projet\u00a0Remembering 1918 \/ European Dreams of Becoming Modern.A suivre...INFORMATIONS PRATIQUES&gt;&gt;&gt;\u00a0La Bellone - Maison du Spectacle\u00a0(Rue de Flandre 46, 1000 Bruxelles) -\u00a0voir la carte&gt;&gt;&gt; jeudi\u00a023\u00a0et\u00a0vendredi\u00a024 novembre\u00a02017 -\u00a010 &gt; 17h&gt;&gt;&gt;\u00a0entr\u00e9e libre&gt;&gt;&gt;\u00a0la conf\u00e9rence se tiendra\u00a0exclusivement\u00a0en anglais\u00a0\nPROGRAMME\u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a023 novembre (session ouverte au public)\u00a0 \u00a0 \u00a0\u00a0 \u00a09h30\u00a0\u2013 accueil des participants10h\u00a0\u2013\u00a0ouverture officielle de la conf\u00e9renceSarah FLOCK (Universit\u00e9 Libre de Bruxelles, ULB)Martina PECKOVA \u010cERNA (Arts and Theatre Institute Prague)Jitka PANEK JURKOVA (Czech Centre Brussels)Anna VONDRACEK (Palais des Beaux-Arts)10h45\u00a0\u2013\u00a0BLOCK I \u2013 First and Second Avant-Garde: Ruptures or Inspiration for todays\u2019 theatre?Mod\u00e9rateur : Sarah FLOCK (ULB)\nDorota WALCZAK-DELANOIS\u00a0(ULB):\u00a0Dance Me to the End of My Poem: A Short Story of Synergy between Poets, Dancers and Painters in the Polish Interwar Period\nDagmar KRO\u010cANOV\u00c1 (Universit\u00e9 Comenius, Bratislava, Slovaquie):\u00a0Between Appeal and Refusal: Notes on Slovak Literary and Theatre Avant-Garde in the Interwar Period\nMartina MUSILOV\u00c1 (Universit\u00e9 Masaryk, Brno, R\u00e9publique tch\u00e8que):\u00a0As you make your bed so you must lie on it (Czech avant-garde in the period 1920s - 1950s)\nDariusz KOSI\u0143SKI\u00a0(Institut th\u00e9\u00e2tral Zbigniew Raszewski, Varsovie, Pologne):\u00a0Reclaimed Avant-garde\n13h\u00a0\u2013\u00a0lunch14h15\u00a0\u00a0\u2013\u00a0BLOCK II \u2013 Artists Face the Avant-Garde (Presentations and personal statements of artists involved in\u00a0the artistic creation for 2018\nMi\u0159enka \u010cECHOV\u00c1 (danseuse et metteur en sc\u00e8ne, R\u00e9publique tch\u00e8que)\nStanislav DOB\u00c1K (danseur, Slovaquie)\u00a0\nMod\u00e9ratrice : Martina PECKOV\u00c1 \u010cERN\u00c1\nKatarzyna CHMIELEWSKA-JANKOWSKA\u00a0et\u00a0Jakub TRUSZKOWSKI\u00a0(danseurs,\u00a0Dada von Bzdulow dance company, Pologne)\nJoanna LE\u015aNIEROWSKA\u00a0(Pologne)\nMonika DRO\u017bY\u0143SKA\u00a0(Pologne)\nMod\u00e9ratrices : Edyta ZIELNIK et Anna GALAS-KOSIL\nFarid FAIRUZ (Roumanie)\nAgnia \u0160EIJKO (Lituanie)\nBoglarka B\u00d6RCS\u00d6K (Hongrie)\u00a0\nJohanne SAUNIER et Ine CLAES (Belgique)\nMod\u00e9ratrice : Iulia POPOVICI\u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a024 novembre (matinee ouverte au public)\u00a0 \u00a0 \u00a0 \u00a0\u00a010h \u2013\u00a0BLOCK III \u2013 First and Second Avant-Garde: Ruptures or Inspiration for todays\u2019 theatre?\u00a0(apr\u00e8s 1945)Mod\u00e9rateur : Karel VANHAESENBROUCK\nIulia POPOVICI (Universit\u00e9 des Arts T\u00eergu Mure\u015f\/M\u00e1rosv\u00e1s\u00e1rhely, Roumanie):\u00a0Legacy of Romanian Avant-Garde\nJudit GAL\u00c1CZ (ELTE University):\u00a0The Hungarian Theatre Avant-Garde and the Green Donkey Theatre\nJitka PAVLI\u0160OV\u00c1 (R\u00e9publique tch\u00e8que):\u00a0Czech Dance Avant-Garde in the Context of Modern\/Expressive Dance (R)evolution in Central Europe\nJustyna MICHALIK (Institut des Arts de l\u2019Acad\u00e9mie Polonaise des Sciences):\u00a0Theater in un-obvious spaces \u2013 Cricot and Cricot 2\n12h45 \u2013 lunch14h30\u00a0\u2013 Discussions et pr\u00e9paration des projets pour 2018 (session priv\u00e9e)\nMonika DRO\u017bY\u0143SKAan artist, designer and initiator of collaborative projects presented in a public space, among others \"The Point\" (2004-2010), \"Sew your cultural centre\" (2008-2009), \"Urban embroidery\" (2010-2011). She participated in both individual and group exhibitions, among others at the Ujazdowski Castle Centre for Contemporary Art, Zach\u0119ta National Art Gallery (2010-2013), \u0141a\u017ania Centre for Contemporay Art, Gda\u0144sk (2008), Kronika Centre for Contemporary Art, Bytom (2013, 2014), Grand Theatre - National Opera, Warsaw (2011), MOCAK Museum of Contemporary Art, Cracow (2010). Her works are in the collection of Bunkier Sztuki Gallery of Contemporary Art and National Museum in Cracow. She was a scholarship holder of the Ministry of Culture and National Heritage (2010) and the Visegrad Artist Residency Program (2012). She was a laureate of competitions Kulturysta of the Polish Radio Program 3 (2011) and Kulturalne Odloty of Gazeta Wyborcza (2008). Monika was also nominated to the award \"Polityka\" Passports (2012, 2013). She is a founder of the Hands of Gold Embroidery School for Ladies and Gentlemen and member of the collective Hands of Gold. Monika lives and works in Cracow.Katarzyna CHMIELEWSKA-JANKOWSKAgraduated from the National Ballet School in Gda\u0144sk (1984-1993), studied atP.A.R.T.S in Brussels (1996-1997); in 1993-1994 danced at the Ballet Group of the BalticState Opera House in Gda\u0144sk, and in Gda\u0144sk Dance Theatre (1994-1995). Since 1992,together with Leszek Bzdyl, she has run the Dada von Bzd\u00fcl\u00f6w Theatre; since 2008given the support of Gdansk City Council, regularly staging and presenting its repertoireat Wybrze\u017ce Theatre, Gda\u0144sk. She holds the position of Artistic Director and ChiefExecutive in Dada Theatre, since 2008 run in the form of Association (NGO). She hasbeen selected by the Polish Institute of Music and Dance \/IMiT\/ as one of the key coorganisers\u00a0of 2019 Polish Dance Platform in Gda\u0144sk. As part of her artistic career in thetheatre, she's run workshops of contemporary dance technique and improvisation, eg.Dada Hub at the Bay of Art in Sopot (annual choreographic summer workshop), she'smade original choreographies, such as \"so beautiful\" (2002), \"Complexion\" (2007),\"FRUU\" (2011), \"Why don't you like sadness? (2016), and co-created and appeared inmost dada productions, including \"Magnolia\" (2003), \"Several Witty Observations\"(2004) \/ performance produced within Trans Dance Europe Network and shown eg. atLaMaMa in New York (2006\/07) or in India (2007) \/, \"Factor T\" (2008) coproducedwith Dance Advance, Philadelphia &amp; Art Station Foundation, Pozna\u0144; \"Red Grass\"(2009), \"Caff\u00e8 Latte\" (2009), \"Le Sacre\" (2010), \"Invisible Duets\" (2012) \/ performanceshown eg. in South Korea (2012) and China (2012) \/, \"Play it, so 17 dances aboutsomething\" (2013), \"INTRO\" (2015) \/ performance shown eg. in New York withinRehearsal for Truth Festival in Sept 2017\/, \"Today, Everything\" (premiere 2017). She'sbeen a regular contributor to the performances of other choreographers eg. RobertoOlivan, Malgven Gerbes and David Brandst\u00e4tter, as well as has created scenic movementfor drama theatres. Awarded in 2012 by the Mayor of Gda\u0144sk and Marshal of thePomeranian Region for lifetime outstanding artistic achievements.prof. Dariusz KOSI\u0143SKIa professor at the Performance Studies Department of the Jagiellonian University, Cracow, Poland. At the beginning of his career he researched the theory and history of 19th century acting, publishing two books on the subject and editing the series of source materials. Later he focused on the tradition he had called the Polish theatre of transformation, developed by the most important Polish artists from Adam Mickiewicz to Jerzy Grotowski. His main publications in the field are: \"Polski teatr przemiany\" (Wroc\u0142aw 2007) i \"Grotowski. Przewodnik\" (Wroc\u0142aw 2009). He is the author of the history of Polish theater and performances \"Teatra polskie. Historie\" (Warsaw 2010) \u2013 the book was also published in German and Chinese. From 2010 till the end of 2013 he was the programme director of the Grotowski Institute in Wroc\u0142aw. He was the member of the editorial board of the Jerzy Grotowski collected texts, published in Polish in 2012. From 2014 he is the research director of the Zbigniew Raszewski Theatre Institute in Warsaw. His latest publications include a book on the performances after the cathastrophy of the presidential plane in Smolensk (Teatra polskie. Rok katastrofy, Warsaw 2013), a monography of the early performances by Jerzy Grotowski (\"Grotowski. Profanacje\", Wroc\u0142aw 2015) and the collection of essays on performance studies (\"Performatyka. W(y)prowadzenia\", Cracow 2016).Joanna LE\u015aNIEROWSKAa dramaturge, dance curator and performance maker. She published on dance for major Polish theatre papers and lectured on Polish choreography in universities in Poland (Pozna\u0144 and Cracow) and at numerous conferences abroad; since 2004 she runs performative program of Art Stations Foundation (www.artstationsfoundation.pl) in Pozna\u0144 (known as Old Brewery New Dance Programme) which presents the latest achievements in contemporary choreography and strongly supports choreographic development of Polish artists. In years 2011-2014 Lesnierowska was a member of Advisory Board for Music and Dance Institute in Warsaw. Parallel to her curatorial work, Joanna developed practice as an artistic coach to young choreographers and as a dramaturge and light designer to a number of Polish and international artists, including Janusz Orlik, Renata Piotrowska, Anna Nowicka, Arkadi Zaides, Lia Haraki, Jurij Konjar and M\u00e1rta Ladj\u00e1nszki. In 2003-2008 Joanna was coruning a dance collective and association Towarzystwo Gimnastyczne within which she co-created and toured three choreographic works. Since 2011 she creates also her own works (\"reconstruction\", 2011; \"\u2026(rooms by the sea)\", 2014; \"Leavening\", 2016; \"blur\", 2017). For co-creation of a solo \"Insight\" (together with Janusz Orlik), in a frame of Polish Dance Platform 2014 she received the Polish Minister of Culture\u2019s award for best choreography.Justyna MICHALIKa PhD student at the Institute of Art of the Polish Academy of Sciences, co-editor of numerous books and exhibition catalogues published on the occasion of exhibitions organized by the Centre for the Documentation of the Art of Tadeusz Kantor \"Cricoteka\" in Cracow. Author of the book \"Idea bardzo konsekwentna. Happening i Teatr Happeningowy Tadeusza Kantora\" (Cracow, 2015). Member of Theatre Researchers Forum \u2013 a collective which promotes democratization of the discourse on theatre.Jakub TRUSZKOWSKIJakub Truszkowski started his dance training in 1987 at the State Ballet School in Gdansk, where he obtained his degree in 1996. Between 1994 and 1996, as a student he performed in several classical pieces at the Opera House of Gdansk. In 1996 he was admitted to Anne Teresa De Keersmaeker\u2019s contemporarry dance school P.A.R.T.S. After graduating in 1999 he joined the company Rosas where between 2000-2006 and 2010-2016, he performed in Drumming, Mozart \/ Concert Arias, Grosse Fuge and Mikrokosmos and participating to the creation of In Real Time, Rain, April Me, Repertory Evening XX, Bitches Brew \/ Tacoma Narrows and Kassandra. In 2007 he joined the company Les Ballets C de la B, dancing in Import Export and Ashes.Between 2013-2015 he was a program coordinator at P.A.R.T.S. He is a guest teacher at P.A.R.T.S. And several other places including De Theaterschool \/ Amsterdam and The Folkwang University of the Arts \/ Essen, Springboard \/ Montreal and Rosas dance company.As a rehearsal director, he staged Rosas repertory at P.A.R.T.S., Op\u00e9ra de Lyon, Op\u00e9ra de Paris, Gothemburg Opera and Companhia Nacional de Bailado of Portugal.His personal creations include: Solo For The Projector, Bodyscapes, Walking Duet, Memory Reset, White Noise, Dzisiaj Wszystko.He is a co-founder and a performer at The House of Bertha dance collective in Brussels.Dorota WALCZAK-DELANOIS, PhDa lecturer at the ULB, responsible for Polish language and culture who has authored several books on poetry, especially the Polish avant-garde. She serves on numerous editorial and academic boards, and on the Wis\u0142awa Szymborska Award jury. Besides being a painter and poet, she is also a great lover of dancing.\n\u00a0\nGalerie d\u2019images\n\u00a0"},{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/brussels\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts\/#primaryimage","url":"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-2.jpg","contentUrl":"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-2.jpg","width":572,"height":358},{"@type":"BreadcrumbList","@id":"https:\/\/instytutpolski.pl\/brussels\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/instytutpolski.pl\/brussels\/"},{"@type":"ListItem","position":2,"name":"East and Central European Modernity Rebuilding in Performing Arts"}]},{"@type":"WebSite","@id":"https:\/\/instytutpolski.pl\/brussels\/#website","url":"https:\/\/instytutpolski.pl\/brussels\/","name":"Instytut Polski w Brukseli","description":"Instytuty Polskie","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/instytutpolski.pl\/brussels\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"pl-PL"},{"@type":"Person","@id":"https:\/\/instytutpolski.pl\/brussels\/#\/schema\/person\/ccb27e6f37dc023e9a8d394b9bc37c18","name":"dyjakn","image":{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/brussels\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/8275a451988be0ae9a525d2a55b644f7?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/8275a451988be0ae9a525d2a55b644f7?s=96&d=mm&r=g","caption":"dyjakn"},"url":"https:\/\/instytutpolski.pl\/brussels\/author\/dyjakn\/"}]}},"_links":{"self":[{"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/posts\/2903","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/users\/127"}],"replies":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/comments?post=2903"}],"version-history":[{"count":1,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/posts\/2903\/revisions"}],"predecessor-version":[{"id":2905,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/posts\/2903\/revisions\/2905"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/media\/2904"}],"wp:attachment":[{"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/media?parent=2903"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/categories?post=2903"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/tags?post=2903"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}