Session at 17h<\/span><\/h3>\nThe Polish film session opens with the silent melodrama „Bestia \/The Beast\/ The Polish Dancer<\/strong>” with Pola Negri, directed in 1917 by Alexander Hertz.<\/p>\nSession at 19h <\/span><\/h3>\n\u2018Between classicism and experimentation’ <\/em>: dance film in Poland in the 1970s <\/span><\/h3>\nis the first program addressing the mutual inspirations of Polish avant-garde film and dance at the time. Seven shorts selected for the program showcase diverse approaches to the exploration of dance and movement through the film medium, from documentaries to formal experiments in video-art and animated film. <\/span><\/p>\nKrzysztof Kie\u015blowski<\/strong>\u2019s \u201cSiedem kobiet w r\u00f3\u017cnym wieku<\/strong>\u201d \/ \u201cSeven Women of Different Ages<\/strong>\u201d is a reportage portrait of seven dancers at different stages of a typical ballet career, and a metaphorical representation of a specific way of life, informed by art. In conveying the tension between the dancers\u2019 individual and universal traits, the film resembles a parable in which every word and frame is loaded with significance, combining into a miniature masterpiece.<\/span><\/p>\nThe program also features recordings of choreographies by the pioneers of dance theater in Poland, in which the camera and editing engage in active dialogue with movement. Widely considered as an iconic piece in the repertoire of the Polish Dance Theater \u2013 Pozna\u0144 Ballet at the time, the neoclassical \u201cAdagio<\/strong>\u201d choreographed by Conrad Drzewiecki was captured on film by Grzegorz Lasota<\/strong>, who took it to another compositional level for the screen. In turn, Janina Jarzyn\u00f3wna-Sobczak<\/strong>\u2019s choreography \u201cDuet mi\u0142osny<\/strong>\u201d \/ \u201cLove Duet<\/strong>\u201d filmed by documentalist Jadwiga \u017bukowska is a bold and subversive interplay with framing and perspective.<\/p>\nThe program also recognizes the Polish experimental film tradition. From a present-day dance perspective, one is prompted to reinterpret the relations between respective film elements and broadly defined movement (including that of the camera). Interpreting a given piece as a dance film may be independent from its form or genre, as it is defined by the presence of specific compositional features (e.g. those related to video or sound editing) rather than the filmed activity.<\/p>\n
J\u00f3zef Robakowski<\/strong>\u2019s \u201cId\u0119<\/strong>\u201d \/ \u201cI\u2019m going\u2026<\/strong>\u201d may serve as a case in point. Produced in the era of the Workshop of the Film Form, this 3-minute, single-shot short captures the Robakowski\u2019s ascent up the 200 stairs of a parachute tower. Attached to the artist\u2019s body, the camera registers random images while also recording his quickening breath and puffy voice, amounting to a mechanical testimony of somatic experience.<\/p>\nIn the case of Zbigniew Rybczy\u0144ski, movement serves as a vantage point for the exploration of technical capacities of the film medium. \u201cTake Five<\/strong>,\u201d Rybczy\u0144ski<\/strong>\u2019s diploma piece developed at the \u0141\u00f3d\u017a Film School, features a peculiar \u201cdance\u201d between two characters who interchangeably come closer to, and draw apart from, each other. Rybczy\u0144ski directs the viewer\u2019s attention to image by impeccable rhythmization of movement within the frame with video editing to the sound of Dave Brubeck\u2019s iconic piece. The film culminates in an iterative exposition, which was also (albeit to a lesser extent) employed by Rybczy\u0144ski<\/strong> in \u201cKwadrat<\/strong>.<\/p>\nThe juxtaposition of these two pieces with Rybczy\u0144ski’s trademark „Tango<\/strong>„, Poland’s first Oscar in the animated film category, shows the evolution of the director’s work in a broader context of avant-garde cinema.\u00a0<\/p>\nSession at 21h<\/span><\/h3>\nThis program ends with Tadeusz Kantor<\/strong>’s „The Dead Class<\/strong>” in the film adaptation by Andrzej Wajda. The subject of this film recording is the first version of Tadeusz Kantor’s „The Dead Class”, a s\u00e9ance expressed in cinematic language. In the case of a filmed recording of a performance, the choice of shots, the composition of frames and the rhythms of the editing procedures mean that the question of authorship rarely changes fundamentally, but always becomes more complex. The viewer accesses the theatrical work in a different way, sometimes losing and sometimes gaining something in the process. In the case of the recording of The Dead Class, there was a collaboration of masters, of individuals, that gave the film a unique quality. Despite successive recordings of The Dead Class, the world, forty years later, is still watching that same recording.” A unique recording of Tadeusz Kantor’s performance was made in 1976 by Andrzej Wajda during his presentation at the Krzysztofory Gallery in Krakow.<\/p>\n","protected":false},"excerpt":{"rendered":"The International Dance Film Festival – The Difficult Art of Filming Dance focuses on the specific relationship between dance and film. The selection of recent films includes films and documentaries by directors, choreographers and visual artists made in the two years preceding the festival. For the historical films, a new theme is chosen every year. […]<\/p>\n","protected":false},"author":147,"featured_media":7734,"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":[90,100,98],"tags":[],"class_list":["post-7745","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts","category-film","category-theatre"],"yoast_head":"\n
L\u2019art difficile de filmer la danse. \u201cBetween classicism and experimentation\u00a0: dance film in Poland in the 1970s" - 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\/2021\/09\/29\/lart-difficile-de-filmer-la-danse-between-classicism-and-experimentation-dance-film-in-poland-in-the-1970s\/\" \/>\n<meta property=\"og:locale\" content=\"pl_PL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"L\u2019art difficile de filmer la danse. \u201cBetween classicism and experimentation\u00a0: dance film in Poland in the 1970s" - Instytut Polski w Brukseli\" \/>\n<meta property=\"og:description\" content=\"The International Dance Film Festival – The Difficult Art of Filming Dance focuses on the specific relationship between dance and film. 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[…]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/instytutpolski.pl\/brussels\/en\/2021\/09\/29\/lart-difficile-de-filmer-la-danse-between-classicism-and-experimentation-dance-film-in-poland-in-the-1970s\/\" \/>\n<meta property=\"og:site_name\" content=\"Instytut Polski w Brukseli\" \/>\n<meta property=\"article:published_time\" content=\"2021-09-29T09:32:40+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-02-23T11:40:25+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2021\/09\/7k00094810-_3_-_3_.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"1388\" \/>\n\t<meta property=\"og:image:height\" content=\"1038\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"debruchev\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Napisane przez\" \/>\n\t<meta name=\"twitter:data1\" content=\"debruchev\" \/>\n\t<meta name=\"twitter:label2\" content=\"Szacowany czas czytania\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minuty\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"event\",\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/en\/2021\/09\/29\/lart-difficile-de-filmer-la-danse-between-classicism-and-experimentation-dance-film-in-poland-in-the-1970s\/\",\"url\":\"https:\/\/instytutpolski.pl\/brussels\/en\/2021\/09\/29\/lart-difficile-de-filmer-la-danse-between-classicism-and-experimentation-dance-film-in-poland-in-the-1970s\/\",\"name\":\"L\u2019art difficile de filmer la danse. \u201cBetween classicism and experimentation\u00a0: dance film in Poland in the 1970s\\\"\",\"isPartOf\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/en\/2021\/09\/29\/lart-difficile-de-filmer-la-danse-between-classicism-and-experimentation-dance-film-in-poland-in-the-1970s\/#primaryimage\"},\"image\":[\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2021\/09\/7k00094810-_3_-_3_.jpeg\",\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2021\/09\/7k00094810-_3_-_3_-300x224.jpeg\",\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2021\/09\/7k00094810-_3_-_3_-1024x766.jpeg\",\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2021\/09\/7k00094810-_3_-_3_.jpeg\"],\"thumbnailUrl\":\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2021\/09\/7k00094810-_3_-_3_.jpeg\",\"datePublished\":\"2021-09-29T09:32:40+02:00\",\"dateModified\":\"2023-02-23T11:40:25+02:00\",\"author\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/#\/schema\/person\/a9511bd38216ede5326c1c43526fa9d8\"},\"breadcrumb\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/en\/2021\/09\/29\/lart-difficile-de-filmer-la-danse-between-classicism-and-experimentation-dance-film-in-poland-in-the-1970s\/#breadcrumb\"},\"inLanguage\":\"pl-PL\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/instytutpolski.pl\/brussels\/en\/2021\/09\/29\/lart-difficile-de-filmer-la-danse-between-classicism-and-experimentation-dance-film-in-poland-in-the-1970s\/\"]}],\"@context\":\"https:\/\/schema.org\",\"startDate\":\"2021-10-01T05:00:00+02:00\",\"endDate\":\"2021-10-01T09:00:00+02:00\",\"eventStatus\":\"EventScheduled\",\"eventAttendanceMode\":\"OfflineEventAttendanceMode\",\"location\":{\"@type\":\"place\",\"name\":\"\",\"address\":\"\",\"geo\":{\"@type\":\"GeoCoordinates\",\"latitude\":\"\",\"longitude\":\"\"}},\"description\":\"The International Dance Film Festival - The Difficult Art of Filming Dance focuses on the specific relationship between dance and film. The selection of recent films includes films and documentaries by directors, choreographers and visual artists made in the two years preceding the festival.\\nFor the historical films, a new theme is chosen every year. The one of 2021 honors Poland and we invite you to discover the content below.\\nThe program dedicated to Polish films will take place\\n @ Cinematek (Rue Baron Horta 9)\\nFriday 1st October 2021\\nfrom 5 pm\\nFull programme here.\\nSession at 17h\\nThe Polish film session opens with the silent melodrama \\\"Bestia \/The Beast\/ The Polish Dancer\\\" with Pola Negri, directed in 1917 by Alexander Hertz.\\nSession at 19h \\n\u2018Between classicism and experimentation' : dance film in Poland in the 1970s \\nis the first program addressing the mutual inspirations of Polish avant-garde film and dance at the time. Seven shorts selected for the program showcase diverse approaches to the exploration of dance and movement through the film medium, from documentaries to formal experiments in video-art and animated film. \\nKrzysztof Kie\u015blowski\u2019s \u201cSiedem kobiet w r\u00f3\u017cnym wieku\u201d \/ \u201cSeven Women of Different Ages\u201d is a reportage portrait of seven dancers at different stages of a typical ballet career, and a metaphorical representation of a specific way of life, informed by art. In conveying the tension between the dancers\u2019 individual and universal traits, the film resembles a parable in which every word and frame is loaded with significance, combining into a miniature masterpiece.\\nThe program also features recordings of choreographies by the pioneers of dance theater in Poland, in which the camera and editing engage in active dialogue with movement. Widely considered as an iconic piece in the repertoire of the Polish Dance Theater \u2013 Pozna\u0144 Ballet at the time, the neoclassical \u201cAdagio\u201d choreographed by Conrad Drzewiecki was captured on film by Grzegorz Lasota, who took it to another compositional level for the screen. In turn, Janina Jarzyn\u00f3wna-Sobczak\u2019s choreography \u201cDuet mi\u0142osny\u201d \/ \u201cLove Duet\u201d filmed by documentalist Jadwiga \u017bukowska is a bold and subversive interplay with framing and perspective.\\nThe program also recognizes the Polish experimental film tradition. From a present-day dance perspective, one is prompted to reinterpret the relations between respective film elements and broadly defined movement (including that of the camera). Interpreting a given piece as a dance film may be independent from its form or genre, as it is defined by the presence of specific compositional features (e.g. those related to video or sound editing) rather than the filmed activity.\\nJ\u00f3zef Robakowski\u2019s \u201cId\u0119\u201d \/ \u201cI\u2019m going\u2026\u201d may serve as a case in point. Produced in the era of the Workshop of the Film Form, this 3-minute, single-shot short captures the Robakowski\u2019s ascent up the 200 stairs of a parachute tower. Attached to the artist\u2019s body, the camera registers random images while also recording his quickening breath and puffy voice, amounting to a mechanical testimony of somatic experience.\\nIn the case of Zbigniew Rybczy\u0144ski, movement serves as a vantage point for the exploration of technical capacities of the film medium. \u201cTake Five,\u201d Rybczy\u0144ski\u2019s diploma piece developed at the \u0141\u00f3d\u017a Film School, features a peculiar \u201cdance\u201d between two characters who interchangeably come closer to, and draw apart from, each other. Rybczy\u0144ski directs the viewer\u2019s attention to image by impeccable rhythmization of movement within the frame with video editing to the sound of Dave Brubeck\u2019s iconic piece. The film culminates in an iterative exposition, which was also (albeit to a lesser extent) employed by Rybczy\u0144ski in \u201cKwadrat.\\nThe juxtaposition of these two pieces with Rybczy\u0144ski's trademark \\\"Tango\\\", Poland's first Oscar in the animated film category, shows the evolution of the director's work in a broader context of avant-garde cinema.\u00a0\\nSession at 21h\\nThis program ends with Tadeusz Kantor's \\\"The Dead Class\\\" in the film adaptation by Andrzej Wajda. The subject of this film recording is the first version of Tadeusz Kantor's \\\"The Dead Class\\\", a s\u00e9ance expressed in cinematic language. In the case of a filmed recording of a performance, the choice of shots, the composition of frames and the rhythms of the editing procedures mean that the question of authorship rarely changes fundamentally, but always becomes more complex. 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The selection of recent films includes films and documentaries by directors, choreographers and visual artists made in the two years preceding the festival.\nFor the historical films, a new theme is chosen every year. The one of 2021 honors Poland and we invite you to discover the content below.\nThe program dedicated to Polish films will take place\n @ Cinematek (Rue Baron Horta 9)\nFriday 1st October 2021\nfrom 5 pm\nFull programme here.\nSession at 17h\nThe Polish film session opens with the silent melodrama \"Bestia \/The Beast\/ The Polish Dancer\" with Pola Negri, directed in 1917 by Alexander Hertz.\nSession at 19h \n\u2018Between classicism and experimentation' : dance film in Poland in the 1970s \nis the first program addressing the mutual inspirations of Polish avant-garde film and dance at the time. Seven shorts selected for the program showcase diverse approaches to the exploration of dance and movement through the film medium, from documentaries to formal experiments in video-art and animated film. \nKrzysztof Kie\u015blowski\u2019s \u201cSiedem kobiet w r\u00f3\u017cnym wieku\u201d \/ \u201cSeven Women of Different Ages\u201d is a reportage portrait of seven dancers at different stages of a typical ballet career, and a metaphorical representation of a specific way of life, informed by art. In conveying the tension between the dancers\u2019 individual and universal traits, the film resembles a parable in which every word and frame is loaded with significance, combining into a miniature masterpiece.\nThe program also features recordings of choreographies by the pioneers of dance theater in Poland, in which the camera and editing engage in active dialogue with movement. Widely considered as an iconic piece in the repertoire of the Polish Dance Theater \u2013 Pozna\u0144 Ballet at the time, the neoclassical \u201cAdagio\u201d choreographed by Conrad Drzewiecki was captured on film by Grzegorz Lasota, who took it to another compositional level for the screen. In turn, Janina Jarzyn\u00f3wna-Sobczak\u2019s choreography \u201cDuet mi\u0142osny\u201d \/ \u201cLove Duet\u201d filmed by documentalist Jadwiga \u017bukowska is a bold and subversive interplay with framing and perspective.\nThe program also recognizes the Polish experimental film tradition. From a present-day dance perspective, one is prompted to reinterpret the relations between respective film elements and broadly defined movement (including that of the camera). Interpreting a given piece as a dance film may be independent from its form or genre, as it is defined by the presence of specific compositional features (e.g. those related to video or sound editing) rather than the filmed activity.\nJ\u00f3zef Robakowski\u2019s \u201cId\u0119\u201d \/ \u201cI\u2019m going\u2026\u201d may serve as a case in point. Produced in the era of the Workshop of the Film Form, this 3-minute, single-shot short captures the Robakowski\u2019s ascent up the 200 stairs of a parachute tower. Attached to the artist\u2019s body, the camera registers random images while also recording his quickening breath and puffy voice, amounting to a mechanical testimony of somatic experience.\nIn the case of Zbigniew Rybczy\u0144ski, movement serves as a vantage point for the exploration of technical capacities of the film medium. \u201cTake Five,\u201d Rybczy\u0144ski\u2019s diploma piece developed at the \u0141\u00f3d\u017a Film School, features a peculiar \u201cdance\u201d between two characters who interchangeably come closer to, and draw apart from, each other. Rybczy\u0144ski directs the viewer\u2019s attention to image by impeccable rhythmization of movement within the frame with video editing to the sound of Dave Brubeck\u2019s iconic piece. The film culminates in an iterative exposition, which was also (albeit to a lesser extent) employed by Rybczy\u0144ski in \u201cKwadrat.\nThe juxtaposition of these two pieces with Rybczy\u0144ski's trademark \"Tango\", Poland's first Oscar in the animated film category, shows the evolution of the director's work in a broader context of avant-garde cinema.\u00a0\nSession at 21h\nThis program ends with Tadeusz Kantor's \"The Dead Class\" in the film adaptation by Andrzej Wajda. The subject of this film recording is the first version of Tadeusz Kantor's \"The Dead Class\", a s\u00e9ance expressed in cinematic language. In the case of a filmed recording of a performance, the choice of shots, the composition of frames and the rhythms of the editing procedures mean that the question of authorship rarely changes fundamentally, but always becomes more complex. The viewer accesses the theatrical work in a different way, sometimes losing and sometimes gaining something in the process. In the case of the recording of The Dead Class, there was a collaboration of masters, of individuals, that gave the film a unique quality. Despite successive recordings of The Dead Class, the world, forty years later, is still watching that same recording.\" A unique recording of Tadeusz Kantor's performance was made in 1976 by Andrzej Wajda during his presentation at the Krzysztofory Gallery in Krakow."},{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/brussels\/en\/2021\/09\/29\/lart-difficile-de-filmer-la-danse-between-classicism-and-experimentation-dance-film-in-poland-in-the-1970s\/#primaryimage","url":"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2021\/09\/7k00094810-_3_-_3_.jpeg","contentUrl":"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2021\/09\/7k00094810-_3_-_3_.jpeg","width":1388,"height":1038},{"@type":"BreadcrumbList","@id":"https:\/\/instytutpolski.pl\/brussels\/en\/2021\/09\/29\/lart-difficile-de-filmer-la-danse-between-classicism-and-experimentation-dance-film-in-poland-in-the-1970s\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/instytutpolski.pl\/brussels\/"},{"@type":"ListItem","position":2,"name":"L\u2019art difficile de filmer la danse. \u201cBetween classicism and experimentation\u00a0: dance film in Poland in the 1970s”"}]},{"@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\/a9511bd38216ede5326c1c43526fa9d8","name":"debruchev","image":{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/brussels\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/219e7982d83aec3f4ce66c1c3219fe98?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/219e7982d83aec3f4ce66c1c3219fe98?s=96&d=mm&r=g","caption":"debruchev"},"url":"https:\/\/instytutpolski.pl\/brussels\/author\/debruchev\/"}]}},"_links":{"self":[{"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/posts\/7745","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\/147"}],"replies":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/comments?post=7745"}],"version-history":[{"count":2,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/posts\/7745\/revisions"}],"predecessor-version":[{"id":7752,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/posts\/7745\/revisions\/7752"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/media\/7734"}],"wp:attachment":[{"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/media?parent=7745"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/categories?post=7745"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/tags?post=7745"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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