Retroperspektywy 2024

 

In­ter­na­tio­nal The­atre Fe­sti­val Re­tro­per­spek­ty­wy 2024

 

AWA­KE­NINGS

 

20 years of CHO­REA The­atre

 

23.08. - 01.09.2024

 

CHO­REA The­atre / Lodz / Poland

 

 

The next sta­ge of our fe­sti­val jo­ur­ney du­ring the 13th edi­tion of the RPS Fe­sti­val will fo­cus on ope­ning up and se­eking the new and fresh. It is the act of wa­king up from a dre­am - it is THE AWA­KE­NING. It se­ems that we all re­flect on ma­king 2024 a time of tur­ning po­ints, re­birth, and re­bu­il­ding worlds full of go­od­ness. Our in­tu­ition tells us that this is what au­dien­ces will expect from the arts in the time to come, espe­cial­ly the­atre and the per­for­ming arts, the cor­ner­sto­ne of which is the di­rect con­tact be­twe­en the vie­wer and the cre­ator. We wish that, in the fu­tu­re, ar­ti­stic the­mes will not only il­lu­stra­te and ana­ly­se acts of de­struc­tion, but cre­ate star­ting po­ints for the se­arch for hope, new pa­ths, and in­tri­gu­ing vi­sions. This is what we our­se­lves expect from the the­atre. This is the di­rec­tion our spi­rits and our sen­se of hu­ma­ni­ty set for us. We want to re­kin­dle our strength, be­lie­ve in go­od­ness, awa­ken hope, and to­uch all that is fair wi­thin us.

 

We be­lie­ve that live the­atre, which can only exist in the con­text of a real and tan­gi­ble en­co­un­ter with the au­dien­ce, has an ever-in­cre­asing im­pact on the cre­ati­vi­ty and bro­ade­ning per­spec­ti­ves of the vie­wer. It af­fects the­ir cho­ices, open­ness and cla­ri­ty of vi­sion. It puts a shy smi­le on the­ir face, cre­ates a sen­se of hope, and ena­bles them to de­ve­lop a bro­ader per­spec­ti­ve of them­se­lves, other pe­ople and the world. Our aim is to cre­ate con­di­tions in which one only has to wake up from sle­ep, rub the­ir eyes, and open them very wide to find me­aning and awa­ken to a li­ving exi­sten­ce. This is how, thro­ugh fe­sti­val events — per­for­man­ces, con­certs, our work­shops and the­atre tra­inings cre­ated in col­la­bo­ra­tion with young pe­ople — we want to in­te­ract and meet with our au­dien­ces du­ring the next edi­tion of Re­tro­per­spek­ty­wy.

 

On top of that, this edi­tion will fe­atu­re many ele­ments re­la­ted to CHO­REA The­atre's 20 years of ac­ti­vi­ty to ce­le­bra­te the gro­up's Ju­bi­lee. 

 

We cre­ate the pro­gram­me of the 13th In­ter­na­tio­nal The­atre Fe­sti­val RPS 2024 ac­cor­ding to its main idea and in­spi­ra­tions…

 

AWA­KE­NINGS - mean wa­king up from a dre­am.

AWA­KE­NINGS - mean re­vi­ving the body and the mind.

AWA­KE­NINGS - mean ope­ning your eyes.

AWA­KE­NINGS - mean no­ti­cing the new.

AWA­KE­NINGS - mean a di­sco­ve­ry.

AWA­KE­NINGS - mean a new jo­ur­ney.

They are abo­ut le­aving one's old shells or di­scar­ding one's bag­ga­ge.

They are abo­ut fin­ding or di­sco­ve­ring what is tru­ly im­por­tant.

They are abo­ut se­eing new per­spec­ti­ves and unk­nown worlds thro­ugh in­no­va­ti­ve to­ols and new ar­ti­stic con­te­xts.

They are abo­ut cre­ating our own stre­ams of hope and new al­go­ri­thms of me­aning.

They are a new way of un­der­stan­ding the world aro­und us, the one that se­emed im­pos­si­ble to grasp be­fo­re.

 

To­masz Ro­do­wicz

Ar­ti­stic Di­rec­tor of CHO­REA The­atre

Ar­ti­stic Di­rec­tor of In­ter­na­tio­nal The­atre Fe­sti­val Re­tro­per­spek­ty­wy

 

Ma­ni­fe­sto for the 20 years of CHO­REA The­atre

 

 

FOR A NEW ME­TA­PHY­SICS IN THE­ATRE

 

CHO­REA AFTER 20 YEARS

 

Twen­ty years have pas­sed as if they were two we­eks. When we star­ted with Do­ro­ta Po­row­ska, Elż­bie­ta Ro­jek and Ma­ciej Ry­chły, com­bi­ning Gar­dzie­ni­ce's "Dan­ces of the La­by­rinth" and the "An­cient Or­che­stra" gro­ups, we did not plan for the col­la­bo­ra­tion to last for years. We were young, and we plan­ned it to last fo­re­ver. In our work, we wan­ted to sing, dan­ce, and be clo­se - clo­se to each other, and clo­se to our­se­lves. To re­ach out to the pre­sent day thro­ugh an­cient Gre­ece and its vi­bran­cy. And to re­ach out to our­se­lves, in re­bel­lion aga­inst sta­gna­tion and hu­man abu­ses in the pre­vio­us pa­rent for­ma­tion. We felt po­wer and joy. For al­most three years we were no­mads, a wan­de­ring, off-sys­tem the­atre tro­upe, until I met Krzysz­tof Can­dro­wicz in the run-down Sche­ibler fac­to­ry in Łódź, who en­thu­sia­sti­cal­ly we­lco­med us into his ar­ti­stic squ­at. As a re­sult, in agre­ement with the city au­tho­ri­ties and the vice-pre­si­dent Wło­dzi­mierz To­ma­szew­ski, we cre­ated the Art Fac­to­ry - the first pu­blic-pri­va­te cul­tu­ral in­sti­tu­tion in Po­land, which is still ac­ti­ve to this day.

 

Twen­ty years have pas­sed at a mind-bog­gling pace. It has been a time of ta­ming dre­ams, co­ming of age, explo­ring a mul­ti­tu­de of pa­ths, cre­ating a va­rie­ty of acts and ide­as, wit­nes­sing hu­man tra­ge­dies, sur­pri­sing en­co­un­ters and pa­in­ful par­tings, and fa­cing falls, mi­sta­kes and ri­ses. The­se twen­ty years have been be­au­ti­ful, com­plex, ten­se and com­pli­ca­ted in terms of hu­man plu­ra­li­ty, the­ir in­tri­ca­cy of ac­tion, and va­rie­ty of di­rec­tion. It is a time that to­day is not easy to de­fi­ne, nor is it easy to trans­la­te all of its expe­rien­ces into com­mon go­als and ta­sks for eve­ry­one. It is dif­fi­cult due to the di­ver­si­ty of de­ve­lop­ment di­rec­tions of each crew mem­ber of this the­atri­cal boat. Do­zens of pre­mie­res, do­zens of con­certs, per­for­man­ces, edu­ca­tio­nal pro­jects, exhi­bi­tions, pa­nel di­scus­sions, se­mi­nars, and fi­nal­ly our in­ter­na­tio­nal the­atre fe­sti­vals (which feel like an al­che­mi­cal cru­ci­ble for tho­se in se­arch of a new lan­gu­age in art). Du­ring the­se events, tho­usands of pe­ople in our Art and Life Fac­to­ry bear wit­ness to a per­ma­nen­tly unsa­tis­fied hun­ger and an unful­fil­led dre­am.

 

 

MY QU­EST

 

Ma­tu­ri­ty, know­led­ge and expe­rien­ce of my lo­ved ones, my re­la­ti­ves and the mem­bers of CHO­REA, who have al­ways wor­ked with me, have ac­com­pa­nied me thro­ugho­ut the­se twen­ty years of work, explo­ra­tions, ad­ven­tu­res, strug­gles, me­etings and par­tings. To­ge­ther we have cre­ated so­me­thing that I con­si­der to be my tre­asu­re and my opus vi­tae.

 

But now I’m not en­ti­re­ly sure what to do, now that all the­se pe­ople aro­und me have ma­ste­red eve­ry­thing. Sho­uld I pro­tect them? Watch over them? Gu­ide them? De­fi­ne the­ir work? Cor­rect it? Or per­haps just watch from the si­de­li­nes and be on gu­ard to po­int out and fo­re­see the dan­gers that thre­aten any­one who has tur­ned twen­ty? To se­rve tho­se who need it, and when the­ir pa­ths be­co­me too dan­ge­ro­usly for­ked, to sum­mon eve­ry­one to a jo­int pro­ject, per­for­man­ce or con­cert. And for my­self, to keep dril­ling - dril­ling like a drop of wa­ter thro­ugh a rock, and so­me­ti­mes like a mi­ner at the face, fol­lo­wing what Wit­ka­cy cal­led the My­ste­ry of Exi­sten­ce.

 

Over the years, it has been my cre­dit and skill to set a com­mon di­rec­tion, to bring the­se pe­ople to­ge­ther in the most unpre­dic­ta­ble set­tings, face-to-face with each other, with me and with all kinds of out­stan­ding ar­ti­sts. To set the sce­ne and find a lan­gu­age that wo­uld be our own way of in­ter­pre­ting pe­ople and the world - our own, that is, or­ga­ni­cal­ly de­ve­lo­ped by us. And then, to give them spa­ce to em­bark on the­ir own path and to make the­ir own cho­ices and take re­spon­si­bi­li­ty for the­ir works. From my per­spec­ti­ve, the cur­rent sta­ge, which is qu­ite dif­fi­cult, if not the most dif­fi­cult for me per­so­nal­ly, is abo­ut han­ding over the re­ins and ce­ding gro­unds. I be­lie­ve this is a con­si­stent sta­ge in the de­ve­lop­ment of the gro­up. For a long time now, I have con­scio­usly gi­ven the CHO­REA crew the to­ols and spa­ce for in­de­pen­dent ac­tions, li­mi­ting my own field of cre­ation to or­ga­ni­sing pro­jects and per­for­man­ces once a year that al­low the who­le team to come to­ge­ther for a com­ple­te­ly new ar­ti­stic chal­len­ge. It is im­por­tant that each suc­ces­si­ve me­eting is si­gni­fi­can­tly dif­fe­rent from the pre­vio­us one and that it puts us all on a so­lid gro­und in the face of a new task, a new ar­ti­stic per­spec­ti­ve, and a new part­ner - a di­rec­tor, com­po­ser, cho­re­ogra­pher or pe­da­go­gue, who will lead us to con­front the unk­nown qu­estions and my­ste­ries of life and the­atre.

 

To­day, CHO­REA is a team, a wor­king gro­up per­ma­nen­tly an­cho­red at the Art Fac­to­ry in Łódź, and at the same time a gro­up of friends and pro­fes­sio­nals who work wi­thin and out­si­de the struc­tu­re of this cul­tu­ral in­sti­tu­tion. We seek non-in­sti­tu­tio­nal so­lu­tions wi­thin a very open in­sti­tu­tio­nal fra­me­work. To­ge­ther with Ma­ciej Trze­beń­ski, the di­rec­tor of the Art Fac­to­ry, we have de­ve­lo­ped a mo­del that mi­ni­mi­ses bu­re­au­cra­cy whi­le ma­xi­mi­sing ar­ti­stic, edu­ca­tio­nal, and so­cial out­co­mes for all three par­ties: the Fac­to­ry, CHO­REA, and the au­dien­ce and par­ti­ci­pants of our pro­jects and ac­ti­vi­ties. The lat­ter con­ti­nu­al­ly ve­ri­fy the re­le­van­ce and ef­fec­ti­ve­ness of our work.

 

The trans­for­ma­tion into a col­lec­ti­ve, whe­re we make the most im­por­tant de­ci­sions to­ge­ther, na­tu­ral­ly re­qu­ires si­gni­fi­cant self-work on my part (be­lie­ve me, I am com­mit­ted to this and stri­ve to be con­si­stent). Espe­cial­ly sin­ce this "col­lec­ti­ve" has no hie­rar­chy, and when di­spu­tes re­ach a cri­ti­cal po­int, it is up to me to re­so­lve them. Ne­ver­the­less, we con­ti­nue to stri­ve for com­ple­te com­mu­nal de­ci­sion-ma­king in all mat­ters, and the fact that we are al­re­ady achie­ving this on such a bro­ad sca­le is a te­sta­ment to the team's ma­tu­ri­ty, com­pe­ten­ce, and the com­ple­te trust I pla­ce in my cor­pus vi­tae. Of co­ur­se, this does not mean the­re are no ten­sions and con­flicts.

 

 

ART AND EDU­CA­TION

 

In our ac­ti­vi­ties, we have al­ways con­si­sten­tly com­bi­ned ar­ti­stic and edu­ca­tio­nal work. The in­te­rac­tion of the­se two aspects is na­tu­ral to us for three re­asons. First: we all le­arn at the same time and in the same way as the par­ti­ci­pants in our pro­jects, but we start from a dif­fe­rent le­vel. Se­cond: the par­ti­ci­pants often pro­vi­de us with new per­spec­ti­ves and new to­ols - we are mu­tu­al te­achers for each other. Third: the fi­nal re­sult - the so-cal­led work of art - is de­ve­lo­ped col­la­bo­ra­ti­ve­ly, but the ul­ti­ma­te form, dra­ma­tur­gy, qu­ali­ty, and con­text are the re­spon­si­bi­li­ty of the le­ader, di­rec­tor, or ani­ma­tor, who­se know­led­ge en­com­pas­ses the en­ti­re pro­cess and who has de­ve­lo­ped the ne­ces­sa­ry per­spec­ti­ve for eva­lu­ation.

 

Ho­we­ver, in re­ali­ty, eve­ry pro­ject, per­for­man­ce, pro­gram­me, and eve­ry work pro­cess lo­oks dif­fe­rent. And this is also our unqu­estio­na­ble va­lue. On the one hand, it pre­vents us from fal­ling into a ro­uti­ne, on the other, it expo­ses us to the risk of mi­sta­kes and ar­ti­stic un­cer­ta­in­ty. Ne­ver­the­less, it al­ways le­ads us to­ward new chal­len­ges. Whe­ne­ver the CHO­REA's team de­ve­lops a new per­for­man­ce, we ra­ise the bar very high. For all pro­jects, we stri­ve to ma­in­ta­in the same ethos and com­mon gro­und, which con­si­sts of the to­ols we have de­ve­lo­ped for wor­king with gro­ups of va­rio­us ages and le­vels of ad­van­ce­ment, as well as the body and vo­ice tech­ni­qu­es de­ve­lo­ped both for in­di­vi­du­al ac­tors and for ac­tors in ge­ne­ral. (In 2015, CHO­REA The­atre, in col­la­bo­ra­tion with the Łódź Film Scho­ol and with the sup­port of the Na­tio­nal In­sti­tu­te of Mu­sic and Dan­ce, pu­bli­shed the hand­bo­ok "Tre­ning fi­zycz­ny ak­to­ra - Od dzia­łań in­dy­wi­du­al­nych do ze­spo­łu" / "Ac­tors phy­si­cal tra­ining. From in­di­vi­du­al to gro­up ac­tions".)

 

 

A PER­SON IN THE­IR DI­VER­SI­TY

 

The mul­ti­di­rec­tio­nal ac­ti­vi­ties of all CHO­REA mem­bers in in­di­vi­du­al and col­la­bo­ra­ti­ve pro­jects, wor­king with gu­est ar­ti­sts, col­la­bo­ra­ting with the­atre and mu­sic gro­ups, wor­king with chil­dren, young pe­ople, adults and se­niors, with pe­ople with spe­cial ne­eds, re­gu­lar team tra­inings - all the­se ele­ments de­fi­ne the cur­rent fo­cus of our ac­ti­vi­ty. It is as if we have en­te­red a mul­ti-lane hi­gh­way, which I see as a sha­red stre­am of explo­ra­tion of new hu­ma­ni­ties and prac­ti­ce in the­atre. The main fo­cus and re­fe­ren­ce po­int of most of our ar­ti­stic and edu­ca­tio­nal ac­ti­vi­ties is the par­ti­cu­lar in­di­vi­du­al hu­man be­ing with whom one works, and the gro­up that they con­tri­bu­te to and cre­ate. We put them in front of the Unk­nown and open a path to the­ir own dre­ams wi­thin them, gi­ving the­se dre­ams form and re­pe­ata­bi­li­ty - so that they can sha­re them with others. And so­me­ti­mes, the­se are gre­at di­sco­ve­ries and huge sur­pri­ses. And im­prints that the­se pe­ople le­ave in us for a long time.

 

In or­der to bring to­ge­ther the di­ver­si­ty of our ac­ti­vi­ties and the mul­ti­tu­de of the­mes we have been wor­king on over the years, we need to de­fi­ne the wor­king area of our ar­ti­stic and non-ar­ti­stic re­se­arch. I see it as a se­arch for a new me­ta­phy­sics in the­atre, a se­arch for the func­tion of hu­ma­ni­ty with its exi­sten­tial di­ver­si­ties, the­ir trans­gres­sions, and the non-hu­man and su­per­hu­man…

 

We have been se­ar­ching for this for years, jo­ur­ney­ing from Dio­ny­sus to Gro­tow­ski, from So­phoc­les to Schulz, thro­ugh epic, di­thy­ramb, tra­di­tio­nal song, ope­ra, and rap. But to­day, in the face of all the thre­ats, the in­cre­di­ble hu­man in­ju­sti­ces, the cy­ni­cism of the ru­lers of the world, and the per­fec­tion of AI, the­atre must re­turn to the me­ta­phy­si­cal. It must ask fun­da­men­tal qu­estions aga­in.

 

 

THE FU­TU­RE

 

It has been two de­ca­des. From my per­spec­ti­ve, the pre­sent time is an im­por­tant, if not the most im­por­tant, sta­ge for the next (twen­ty?) years. I stop be­ing in­di­spen­sa­ble, I don't have to over­see eve­ry­thing any­mo­re, I can fo­cus so­le­ly on the­atre and sup­port my col­le­agu­es in the­ir en­de­avo­urs. It's time to hand over the re­ins to tho­se who al­re­ady know how to na­vi­ga­te this mul­ti-lane hi­gh­way wi­tho­ut my su­per­vi­sion. To tho­se for whom wor­king with pe­ople, cre­ating are­as of sha­red me­aning, spa­ces of hu­man and non-hu­man expe­rien­ce, wor­king on our dre­ams and de­si­res, is the most im­por­tant mes­sa­ge of the­se 20 years. 

 

The­re is no sin­gle me­thod, idea or fi­xed pro­gram­me here. The­re are nu­me­ro­us ori­gi­nal to­ols that we have de­ve­lo­ped for wor­king with the body, vo­ice, word and song, and for unle­ashing gro­up cre­ati­vi­ty and ener­gy. Ho­we­ver, hu­mi­li­ty and sen­si­ti­vi­ty are al­ways pa­ra­mo­unt and need to be expo­sed with each new en­co­un­ter. 

 

All the more so sin­ce the world, with its ever-in­cre­asing ten­sions, mul­ti­tu­de of wars, mi­gra­ting tri­bes, scor­ched earth, hun­ger and suf­fe­ring, ma­kes us either hel­pless and pa­ra­ly­sed, or in­c­li­nes us to re­tre­at into va­rio­us kinds of bub­bles. The­se bub­bles are not ar­mo­ured, they are soap. The­re­fo­re, we can­not re­fra­in from asking the­se qu­estions (to our­se­lves and others): What is our spe­cies? Who are we, in­di­vi­du­al­ly and as a who­le? Why are we here?

 

The qu­estion "What for?" is the path to a new me­ta­phy­sics. If so­me­thing hap­pens on sta­ge that trans­ports the ac­tor, along with the vie­wer, into ano­ther di­men­sion - it opens up the po­ssi­bi­li­ty of trans­cen­ding the co­nven­tio­nal re­ali­ty and to­uching the Other. It re­al­ly hap­pens so­me­ti­mes. To­day, I call this my main need in the­atre - a re­turn to me­ta­phy­sics. To a new me­ta­phy­sics that re­qu­ires cre­ating a new lan­gu­age for it. Even tho­ugh I have gra­du­ated (with di­stinc­tion!) in phi­lo­so­phy and know how to ask the­se qu­estions - I can only an­swer them in prac­ti­ce. For my CHO­REA friends and me, that prac­ti­ce lies in the­atre.

 

The­se qu­estions are in­tru­si­ve and in­cre­asin­gly pro­vo­ca­ti­ve, but if we do not an­swer them in ac­tion, able to de­fi­ne and save so­me­thing in our li­ves and the li­ves of tho­se we work with, we will in­vo­lun­ta­ri­ly fol­low the cha­os of the world, with all its fa­sci­na­ting so­ul­les­sness. This world, with its com­pu­ta­tio­nal po­wers, will de­fi­ne us, de­ter­mi­ne our dre­ams and all our ne­eds. Ha­ving ac­cess to all our re­fle­xes, we­ak­nes­ses, de­si­res, lon­gings, and se­crets which our soul is wo­ven from, it will cre­ate an ap­pro­pria­te al­go­ri­thm. An al­go­ri­thm of a man de­vo­id of va­lu­es, with a pre­ci­se­ly cal­cu­la­ted re­sul­tant of our de­si­res.

 

In our the­atre and the­atre-re­la­ted ac­ti­vi­ties, we have well-de­ve­lo­ped to­ols for prac­ti­sing ge­nu­ine hu­man en­co­un­ters. Only in real-life me­etings, face to face, body to body, emo­tion to emo­tion, in un­cer­ta­in­ty and co­ura­ge, can one tru­ly expe­rien­ce one­self and cap­tu­re, for a mo­ment, the afte­ri­ma­ge of hu­ma­ni­ty. Only here can one expe­rien­ce the hu­man and try to to­uch the non-hu­man. This is also what I call the se­arch for a new me­ta­phy­sics in the­atre.

 

My the­atre – the one that is per­so­nal, con­stan­tly in­sa­tia­ble, and wan­ders aro­und the me­an­ders of the My­ste­ry of Exi­sten­ce - me­ets the the­atre of my col­le­agu­es, an in­di­vi­du­al, so­cial, in­ter­ge­ne­ra­tio­nal, chil­dren's, and youth the­atre, at the stop cal­led hope. It is a stop with trans­fers ava­ila­ble in va­rio­us di­rec­tions. A stop for tho­se who don't tre­at the­atre as a work­pla­ce or the­ir ac­tions as a pro­fes­sion or ego-fe­eding, but as a way of wor­king on them­se­lves and get­ting to know them­se­lves and others.

 

To­masz Ro­do­wicz

Ar­ti­stic Di­rec­tor of CHO­REA The­atre

Ar­ti­stic Di­rec­tor of In­ter­na­tio­nal The­atre Fe­sti­val Re­tro­per­spek­ty­wy

 

 

 

In­for­ma­tion abo­ut Re­tro­per­spek­ty­wy Fe­sti­val

 

 

The In­ter­na­tio­nal The­atre Fe­sti­val Re­tro­per­spek­ty­wy (RPS) has been held cyc­li­cal­ly sin­ce 2010 in Fa­bry­ka Sztu­ki at 3 Ty­mie­niec­kie­go Stre­et in Lodz.

 

Ha­ving the form of a fe­sti­val, it of­fers the most at­trac­ti­ve the­atre and dan­ce pro­po­sals from Po­land and other parts of the world. The event can be cha­rac­te­ri­sed by high pro­fes­sio­na­lism of per­for­mers, uni­qu­eness and co­he­ren­ce of the pro­gram­me, ava­ila­bi­li­ty to a wide and di­ver­si­fied au­dien­ce, rich of­fer of work­shops and me­etings with emi­nent au­thors of the­atre and mu­sic arts.

 

Over the past 14 years (du­ring the 10 edi­tions of the RE­TRO­PER­SPEK­TY­WY Fe­sti­val and the 2 edi­tions of the PER­SPEK­TY­WY Fe­sti­val), more than 180 per­for­man­ces, per­for­man­ces, vi­deo-per­for­man­ces, con­certs, ac­com­pa­ny­ing exhi­bi­tions, and more than 50 work­shops have ta­ken pla­ce. Ap­pro­xi­ma­te­ly 1,180 in­vi­ted gu­ests from 25 co­un­tries (in­c­lu­ding the USA, In­dia, Swe­den, Gre­at Bri­ta­in, Nor­way, the Ne­ther­lands, Fran­ce, Ger­ma­ny, Por­tu­gal, Be­la­rus, Ukra­ine, and Isra­el) at­ten­ded, with 43,600 vie­wers and par­ti­ci­pants vi­si­ting the fe­sti­val's ve­nu­es, both on­li­ne and in per­son.

 

We want to con­si­sten­tly con­ti­nue with our de­ve­lop­ment, which has been oc­cur­ring for a co­uple of years now, and or­ga­ni­se yet ano­ther edi­tion of the in­ter­na­tio­nal fe­sti­val to in­vi­te out­stan­ding ar­ti­sts with the­ir the­atre, dan­ce and mu­sic per­for­man­ces. We will make it po­ssi­ble for the au­dien­ce to take part in the World of The­atre who­se main aim is a di­sco­ur­se on con­tem­po­ra­ry re­ali­ty as well as a se­arch for ori­gi­nal me­ans of ar­ti­stic expres­sion. Long-time con­si­sten­cy of get­ting thro­ugh to va­rio­us so­cial gro­ups (in­tel­lec­tu­als, pe­ople from un­der­se­rved com­mu­ni­ties, el­der­ly, stu­dents, youth, fa­mi­lies with chil­dren) and bu­il­ding fe­sti­val au­dien­ce de­ve­lop­ment con­tri­bu­ted to the event be­ing po­pu­lar and wi­de­ly re­co­gni­zed on the cul­tu­ral map of Lodz. Fe­sti­val goes bey­ond re­gu­lar un­der­ta­kings of CHO­REA The­atre and it al­lows per­for­man­ces by Po­lish and in­ter­na­tio­nal ar­ti­sts who deal with the art of the­atre and dan­ce. It is an excu­se and an extra­or­di­na­ry chan­ce for per­for­man­ces that CHO­REA The­atre co-cre­ates with in­ter­na­tio­nal the­atres and ar­ti­sts. An im­por­tant idea, that pro­mo­tes the fe­sti­val from the very be­gin­ning, is cre­ating a brid­ge be­twe­en se­ar­ching no­vi­ces and sta­ge ma­sters, be­twe­en tra­di­tion and avant-gar­de.

 

 

 

Pro­ject fi­nan­ced from the funds of the City of Łódź.