{"id":2906,"date":"2017-11-23T17:23:20","date_gmt":"2017-11-23T16:23:20","guid":{"rendered":"https:\/\/instytutpolski.pl\/brussels\/?p=2906"},"modified":"2020-05-04T17:26:31","modified_gmt":"2020-05-04T15:26:31","slug":"east-and-central-european-modernity-rebuilding-in-performing-arts-2","status":"publish","type":"post","link":"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/","title":{"rendered":"East and Central European Modernity Rebuilding in Performing Arts"},"content":{"rendered":"\n<div class=\"desc\">\n<p>The focus of the conference\u00a0<strong>Remembering 1918: East and Central European Modernity Rebuilding in Performing Arts<\/strong>, which will be held at\u00a0<a href=\"https:\/\/www.bellone.be\/\" target=\"_blank\" rel=\"noopener noreferrer\">La Bellone &#8211; House of Performing Arts<\/a>\u00a0on\u00a0<strong>23 and 24 November<\/strong>\u00a02017 is the centenary of the fall of the European empires and the creation of the nation states of central and Eastern Europe, to be celebrated in 2018. The birth of the new states was accompanied by a twofold desire to ask questions about modernity and create a unique identity in a multi-faceted Europe. Considerable thought was therefore given to the forms which these identities should take in politics, society and the arts.<br \/><br \/>The goal of the conference is to explore notions of\u00a0<strong><em>modernity<\/em>\u00a0<\/strong>and the\u00a0<strong><em>avant-garde<\/em><\/strong>\u00a0and their equivalents in\u00a0<strong>theatre<\/strong>,\u00a0<strong>dance<\/strong>\u00a0and\u00a0<strong>performance<\/strong>, by way of a dialogue between\u00a0<strong>academics and artists<\/strong>\u00a0from Hungary, Lithuania, Poland, the Czech Republic, Romania and Slovakia. The former will present their most recent research on the theme of the avant-garde in the performing arts (including\u00a0<a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,en,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts#DK\">Dariusz KOSI\u0143SKI<\/a>,\u00a0<a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,en,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts#JM\">Justyna MICHALIK<\/a>\u00a0and\u00a0<a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,en,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts#DW\">Dorota WALCZAK-DELANOIS<\/a>) whilst the latter will address the conference to clarify the way in which their practices echo the reflections (political, artistic, aesthetic) born shortly after the First World War (in particular\u00a0<a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,en,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts#JL\">Joanna LE\u015aNIEROWSKA<\/a>,\u00a0<a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,en,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts#MD\">Monika DRO\u017bY\u0143SKA<\/a>,\u00a0<a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,en,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts#KCJ\">Katarzyna CHMIELEWSKA-JANKOWSKA<\/a>\u00a0and\u00a0<a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,en,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts#JT\">Jakub TRUSZKOWSKI<\/a>).<br \/><br \/>The dialogue will be the starting point for an\u00a0<em>in-situ performance journey<\/em>\u00a0specially created for the building of the Palais des Beaux-Arts de Bruxelles presented on\u00a0<strong>27 May<\/strong>\u00a02018 as part of the project\u00a0<strong>Remembering 1918 \/ European Dreams of Becoming Modern<\/strong>.<br \/>More information to follow&#8230;<br \/><strong><br \/>PRACTICAL INFORMATION<br \/><\/strong>&gt;&gt;&gt;\u00a0<strong>La Bellone &#8211; House of Performing Arts\u00a0<\/strong>(Rue de Flandre 46, 1000 Brussels) &#8211;\u00a0<a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,en,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts#map\">see map<\/a><br \/>&gt;&gt;&gt; Thursay\u00a0<strong>23\u00a0<\/strong>and Friday<strong>\u00a024 november<\/strong>\u00a02017 &#8211;\u00a0<strong>10:00 &gt; 17:00<br \/><\/strong>&gt;&gt;&gt;\u00a0<strong>free entry<br \/><\/strong>&gt;&gt;&gt;\u00a0<em>The conference will be held entirely in English<\/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 November (session open to public)\u00a0 \u00a0 \u00a0\u00a0 \u00a0<\/strong><br \/><br \/><strong>9h30<\/strong>\u00a0\u2013 welcoming of the participants<br \/><strong>10h\u00a0\u2013\u00a0<\/strong>official opening of the conference<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 \/>Moderator : Sarah FLOCK (ULB)<\/p>\n<ul>\n<li><a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,en,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts#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 (Comenius University, Bratislava, Slovakia):\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, Czech Republic):\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,en,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts#DK\">Dariusz KOSI\u0143SKI<\/a>\u00a0(Zbigniew Raszewski Theater Institute, Warsaw, Poland):\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 (dancer and director, Czech Republic)<\/li>\n<li>Stanislav DOB\u00c1K (dancer, Slovakia)\u00a0<\/li>\n<\/ul>\n<p>Moderator: Martina PECKOV\u00c1 \u010cERN\u00c1<\/p>\n<ul>\n<li><a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,en,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts#KCJ\">Katarzyna CHMIELEWSKA-JANKOWSKA<\/a>\u00a0and\u00a0<a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,en,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts#JK\">Jakub TRUSZKOWSKI<\/a>\u00a0(dancers,\u00a0<a href=\"http:\/\/www.dadateatr.pl\/\" target=\"_blank\" rel=\"noopener noreferrer\">Dada von Bzdulow dance company<\/a>, Poland)<\/li>\n<li><a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,en,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts#JL\">Joanna LE\u015aNIEROWSKA<\/a>\u00a0(Poland)<\/li>\n<li><a href=\"http:\/\/www.culturepolonaise.eu\/3,4,810,en,East_and_Central_European_Modernity_Rebuilding_in_Performing_Arts#MD\">Monika DRO\u017bY\u0143SKA<\/a>\u00a0(Poland)<\/li>\n<\/ul>\n<p>Moderators: Edyta ZIELNIK and Anna GALAS-KOSIL<\/p>\n<ul>\n<li>Farid FAIRUZ (Romania)<\/li>\n<li>Agnia \u0160EIJKO (Lithuania)<\/li>\n<li>Boglarka B\u00d6RCS\u00d6K (Hungary)\u00a0<\/li>\n<li>Johanne SAUNIER and Ine CLAES (Belgium)<\/li>\n<\/ul>\n<p>Moderator: Iulia POPOVICI<br \/><br \/>\u00a0 \u00a0 \u00a0\u00a0 \u00a0<strong>\u00a024 November (morning session open to 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(after 1945)<br \/>Moderator: Karel VANHAESENBROUCK<\/p>\n<ul>\n<li>Iulia POPOVICI (University of Arts T\u00eergu Mure\u015f\/M\u00e1rosv\u00e1s\u00e1rhely, Romania):\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 (Czech Republic):\u00a0<em>Czech Dance Avant-Garde in the Context of Modern\/Expressive Dance (R)evolution in Central Europe<\/em><\/li>\n<li>Justyna MICHALIK (Institute of Art of the Polish Academy of Sciencies):\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 and preparations for the projects for 2018 (private session)<\/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\">Picture gallery<\/h3>\n<div id=\"gallery\" class=\"thumbs\"><a title=\"\" href=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=445___La_Bellone81536082138640686&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,en?bn=445___La_Bellone81536082138640686&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,en?bn=445___La_Bellone_225414846904866972&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,en?bn=445___La_Bellone_225414846904866972&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>The focus of the conference\u00a0Remembering 1918: East and Central European Modernity Rebuilding in Performing Arts, which will be held at\u00a0La Bellone &#8211; House of Performing Arts\u00a0on\u00a023 and 24 November\u00a02017 is the centenary of the fall of the European empires and the creation of the nation states of central and Eastern Europe, to be celebrated in [&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":[98],"tags":[],"class_list":["post-2906","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-theatre"],"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\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/\" \/>\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=\"The focus of the conference\u00a0Remembering 1918: East and Central European Modernity Rebuilding in Performing Arts, which will be held at\u00a0La Bellone &#8211; House of Performing Arts\u00a0on\u00a023 and 24 November\u00a02017 is the centenary of the fall of the European empires and the creation of the nation states of central and Eastern Europe, to be celebrated in [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/\" \/>\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=\"2020-05-04T15:26:31+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\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/\",\"url\":\"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/\",\"name\":\"East and Central European Modernity Rebuilding in Performing Arts\",\"isPartOf\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/#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\":\"2020-05-04T15:26:31+02:00\",\"author\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/#\/schema\/person\/ccb27e6f37dc023e9a8d394b9bc37c18\"},\"breadcrumb\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/#breadcrumb\"},\"inLanguage\":\"pl-PL\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/\"]}],\"@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\":\"The focus of the conference\u00a0Remembering 1918: East and Central European Modernity Rebuilding in Performing Arts, which will be held at\u00a0La Bellone - House of Performing Arts\u00a0on\u00a023 and 24 November\u00a02017 is the centenary of the fall of the European empires and the creation of the nation states of central and Eastern Europe, to be celebrated in 2018. The birth of the new states was accompanied by a twofold desire to ask questions about modernity and create a unique identity in a multi-faceted Europe. Considerable thought was therefore given to the forms which these identities should take in politics, society and the arts.The goal of the conference is to explore notions of\u00a0modernity\u00a0and the\u00a0avant-garde\u00a0and their equivalents in\u00a0theatre,\u00a0dance\u00a0and\u00a0performance, by way of a dialogue between\u00a0academics and artists\u00a0from Hungary, Lithuania, Poland, the Czech Republic, Romania and Slovakia. The former will present their most recent research on the theme of the avant-garde in the performing arts (including\u00a0Dariusz KOSI\u0143SKI,\u00a0Justyna MICHALIK\u00a0and\u00a0Dorota WALCZAK-DELANOIS) whilst the latter will address the conference to clarify the way in which their practices echo the reflections (political, artistic, aesthetic) born shortly after the First World War (in particular\u00a0Joanna LE\u015aNIEROWSKA,\u00a0Monika DRO\u017bY\u0143SKA,\u00a0Katarzyna CHMIELEWSKA-JANKOWSKA\u00a0and\u00a0Jakub TRUSZKOWSKI).The dialogue will be the starting point for an\u00a0in-situ performance journey\u00a0specially created for the building of the Palais des Beaux-Arts de Bruxelles presented on\u00a027 May\u00a02018 as part of the project\u00a0Remembering 1918 \/ European Dreams of Becoming Modern.More information to follow...PRACTICAL INFORMATION&gt;&gt;&gt;\u00a0La Bellone - House of Performing Arts\u00a0(Rue de Flandre 46, 1000 Brussels) -\u00a0see map&gt;&gt;&gt; Thursay\u00a023\u00a0and Friday\u00a024 november\u00a02017 -\u00a010:00 &gt; 17:00&gt;&gt;&gt;\u00a0free entry&gt;&gt;&gt;\u00a0The conference will be held entirely in English\\nPROGRAMME\u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a023 November (session open to public)\u00a0 \u00a0 \u00a0\u00a0 \u00a09h30\u00a0\u2013 welcoming of the participants10h\u00a0\u2013\u00a0official opening of the conferenceSarah 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?Moderator : 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 (Comenius University, Bratislava, Slovakia):\u00a0Between Appeal and Refusal: Notes on Slovak Literary and Theatre Avant-Garde in the Interwar Period\\nMartina MUSILOV\u00c1 (Universit\u00e9 Masaryk, Brno, Czech Republic):\u00a0As you make your bed so you must lie on it (Czech avant-garde in the period 1920s - 1950s)\\nDariusz KOSI\u0143SKI\u00a0(Zbigniew Raszewski Theater Institute, Warsaw, Poland):\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 (dancer and director, Czech Republic)\\nStanislav DOB\u00c1K (dancer, Slovakia)\u00a0\\nModerator: Martina PECKOV\u00c1 \u010cERN\u00c1\\nKatarzyna CHMIELEWSKA-JANKOWSKA\u00a0and\u00a0Jakub TRUSZKOWSKI\u00a0(dancers,\u00a0Dada von Bzdulow dance company, Poland)\\nJoanna LE\u015aNIEROWSKA\u00a0(Poland)\\nMonika DRO\u017bY\u0143SKA\u00a0(Poland)\\nModerators: Edyta ZIELNIK and Anna GALAS-KOSIL\\nFarid FAIRUZ (Romania)\\nAgnia \u0160EIJKO (Lithuania)\\nBoglarka B\u00d6RCS\u00d6K (Hungary)\u00a0\\nJohanne SAUNIER and Ine CLAES (Belgium)\\nModerator: Iulia POPOVICI\u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a024 November (morning session open to public)\u00a0 \u00a0 \u00a0 \u00a0\u00a010h \u2013\u00a0BLOCK III \u2013 First and Second Avant-Garde: Ruptures or Inspiration for todays\u2019 theatre?\u00a0(after 1945)Moderator: Karel VANHAESENBROUCK\\nIulia POPOVICI (University of Arts T\u00eergu Mure\u015f\/M\u00e1rosv\u00e1s\u00e1rhely, Romania):\u00a0Legacy of Romanian Avant-Garde\\nJudit GAL\u00c1CZ (ELTE University):\u00a0The Hungarian Theatre Avant-Garde and the Green Donkey Theatre\\nJitka PAVLI\u0160OV\u00c1 (Czech Republic):\u00a0Czech Dance Avant-Garde in the Context of Modern\/Expressive Dance (R)evolution in Central Europe\\nJustyna MICHALIK (Institute of Art of the Polish Academy of Sciencies):\u00a0Theater in un-obvious spaces \u2013 Cricot and Cricot 2\\n12h45 \u2013 lunch14h30\u00a0\u2013 Discussions and preparations for the projects for 2018 (private session)\\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\\nPicture gallery\\n\u00a0\"},{\"@type\":\"ImageObject\",\"inLanguage\":\"pl-PL\",\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/#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\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/#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\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"East and Central European Modernity Rebuilding in Performing Arts - Instytut Polski w Brukseli","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/","og_locale":"pl_PL","og_type":"article","og_title":"East and Central European Modernity Rebuilding in Performing Arts - Instytut Polski w Brukseli","og_description":"The focus of the conference\u00a0Remembering 1918: East and Central European Modernity Rebuilding in Performing Arts, which will be held at\u00a0La Bellone &#8211; House of Performing Arts\u00a0on\u00a023 and 24 November\u00a02017 is the centenary of the fall of the European empires and the creation of the nation states of central and Eastern Europe, to be celebrated in [&hellip;]","og_url":"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/","og_site_name":"Instytut Polski w Brukseli","article_published_time":"2017-11-23T16:23:20+00:00","article_modified_time":"2020-05-04T15:26:31+00:00","og_image":[{"width":572,"height":358,"url":"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-2.jpg","type":"image\/jpeg"}],"author":"dyjakn","twitter_card":"summary_large_image","twitter_misc":{"Napisane przez":"dyjakn","Szacowany czas czytania":"9 minut"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"event","@id":"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/","url":"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/","name":"East and Central European Modernity Rebuilding in Performing Arts","isPartOf":{"@id":"https:\/\/instytutpolski.pl\/brussels\/#website"},"primaryImageOfPage":{"@id":"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/#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":"2020-05-04T15:26:31+02:00","author":{"@id":"https:\/\/instytutpolski.pl\/brussels\/#\/schema\/person\/ccb27e6f37dc023e9a8d394b9bc37c18"},"breadcrumb":{"@id":"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/#breadcrumb"},"inLanguage":"pl-PL","potentialAction":[{"@type":"ReadAction","target":["https:\/\/instytutpolski.pl\/brussels\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/"]}],"@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":"The focus of the conference\u00a0Remembering 1918: East and Central European Modernity Rebuilding in Performing Arts, which will be held at\u00a0La Bellone - House of Performing Arts\u00a0on\u00a023 and 24 November\u00a02017 is the centenary of the fall of the European empires and the creation of the nation states of central and Eastern Europe, to be celebrated in 2018. The birth of the new states was accompanied by a twofold desire to ask questions about modernity and create a unique identity in a multi-faceted Europe. Considerable thought was therefore given to the forms which these identities should take in politics, society and the arts.The goal of the conference is to explore notions of\u00a0modernity\u00a0and the\u00a0avant-garde\u00a0and their equivalents in\u00a0theatre,\u00a0dance\u00a0and\u00a0performance, by way of a dialogue between\u00a0academics and artists\u00a0from Hungary, Lithuania, Poland, the Czech Republic, Romania and Slovakia. The former will present their most recent research on the theme of the avant-garde in the performing arts (including\u00a0Dariusz KOSI\u0143SKI,\u00a0Justyna MICHALIK\u00a0and\u00a0Dorota WALCZAK-DELANOIS) whilst the latter will address the conference to clarify the way in which their practices echo the reflections (political, artistic, aesthetic) born shortly after the First World War (in particular\u00a0Joanna LE\u015aNIEROWSKA,\u00a0Monika DRO\u017bY\u0143SKA,\u00a0Katarzyna CHMIELEWSKA-JANKOWSKA\u00a0and\u00a0Jakub TRUSZKOWSKI).The dialogue will be the starting point for an\u00a0in-situ performance journey\u00a0specially created for the building of the Palais des Beaux-Arts de Bruxelles presented on\u00a027 May\u00a02018 as part of the project\u00a0Remembering 1918 \/ European Dreams of Becoming Modern.More information to follow...PRACTICAL INFORMATION&gt;&gt;&gt;\u00a0La Bellone - House of Performing Arts\u00a0(Rue de Flandre 46, 1000 Brussels) -\u00a0see map&gt;&gt;&gt; Thursay\u00a023\u00a0and Friday\u00a024 november\u00a02017 -\u00a010:00 &gt; 17:00&gt;&gt;&gt;\u00a0free entry&gt;&gt;&gt;\u00a0The conference will be held entirely in English\nPROGRAMME\u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a023 November (session open to public)\u00a0 \u00a0 \u00a0\u00a0 \u00a09h30\u00a0\u2013 welcoming of the participants10h\u00a0\u2013\u00a0official opening of the conferenceSarah 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?Moderator : 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 (Comenius University, Bratislava, Slovakia):\u00a0Between Appeal and Refusal: Notes on Slovak Literary and Theatre Avant-Garde in the Interwar Period\nMartina MUSILOV\u00c1 (Universit\u00e9 Masaryk, Brno, Czech Republic):\u00a0As you make your bed so you must lie on it (Czech avant-garde in the period 1920s - 1950s)\nDariusz KOSI\u0143SKI\u00a0(Zbigniew Raszewski Theater Institute, Warsaw, Poland):\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 (dancer and director, Czech Republic)\nStanislav DOB\u00c1K (dancer, Slovakia)\u00a0\nModerator: Martina PECKOV\u00c1 \u010cERN\u00c1\nKatarzyna CHMIELEWSKA-JANKOWSKA\u00a0and\u00a0Jakub TRUSZKOWSKI\u00a0(dancers,\u00a0Dada von Bzdulow dance company, Poland)\nJoanna LE\u015aNIEROWSKA\u00a0(Poland)\nMonika DRO\u017bY\u0143SKA\u00a0(Poland)\nModerators: Edyta ZIELNIK and Anna GALAS-KOSIL\nFarid FAIRUZ (Romania)\nAgnia \u0160EIJKO (Lithuania)\nBoglarka B\u00d6RCS\u00d6K (Hungary)\u00a0\nJohanne SAUNIER and Ine CLAES (Belgium)\nModerator: Iulia POPOVICI\u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a024 November (morning session open to public)\u00a0 \u00a0 \u00a0 \u00a0\u00a010h \u2013\u00a0BLOCK III \u2013 First and Second Avant-Garde: Ruptures or Inspiration for todays\u2019 theatre?\u00a0(after 1945)Moderator: Karel VANHAESENBROUCK\nIulia POPOVICI (University of Arts T\u00eergu Mure\u015f\/M\u00e1rosv\u00e1s\u00e1rhely, Romania):\u00a0Legacy of Romanian Avant-Garde\nJudit GAL\u00c1CZ (ELTE University):\u00a0The Hungarian Theatre Avant-Garde and the Green Donkey Theatre\nJitka PAVLI\u0160OV\u00c1 (Czech Republic):\u00a0Czech Dance Avant-Garde in the Context of Modern\/Expressive Dance (R)evolution in Central Europe\nJustyna MICHALIK (Institute of Art of the Polish Academy of Sciencies):\u00a0Theater in un-obvious spaces \u2013 Cricot and Cricot 2\n12h45 \u2013 lunch14h30\u00a0\u2013 Discussions and preparations for the projects for 2018 (private session)\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\nPicture gallery\n\u00a0"},{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/#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\/en\/2017\/11\/23\/east-and-central-european-modernity-rebuilding-in-performing-arts-2\/#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\/2906","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=2906"}],"version-history":[{"count":1,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/posts\/2906\/revisions"}],"predecessor-version":[{"id":2907,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/posts\/2906\/revisions\/2907"}],"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=2906"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/categories?post=2906"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/tags?post=2906"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}