directed by: Leszek Bzdyl
creation and dance: Katarzyna Chmielewska, Julia Mach, Anna Steller, Urszula Wrobel, Leszek Bzdyl, Filip Szatarski
music: Rafal Detkos & Grzegorz Welizarowicz
costumes: Magda Bem
lighting design: Michał Kołodziej
photos: Tomasz Zerek
production: Klub Żak, Gdańsk co-production: Dworek Artusa
Paradise. Eden, The Garden of Delight.
Left behind us, kept in memory? A state beyond reclaim? Like childhood, like all that can’t be done again? A testimony of a sin and a fall? A source of hopelessness, nostalgia and despair driven by ageing?
Still ahead of us, being created by imagination? Eden as heaven? A bright future, a paradise on earth? Looking for a sense of order, which carries us away from it?
Emanuel Swedenborg: there are paradises similar to a human body.
reiews :
In Eden time doesn’t fly ahead without return, it circles round between the escapes and the returns. Here, one may find tenderness, but not eroticism; violence, but not aggression; suggestiveness, but very subtle; melancholy, but not sadness. Grzegorz Giedrys, Gazeta Wyborcza – Toruń
There is no stage set in the performance. Action takes place by the curtains in a subdued, dim light. If a spectator fails to enter the story from the very beginning, its perception may become impossible. “EDEN” incessantly inspires us to ask questions like: why, what for? Why don’t they look into each other’s eyes, why are their faces frozen, why do they dance in a group if they are apart? During a few-minute’s sequence, four dancers are resting on their elbows, and empty gazing at the audience. They are together, though, each dances differently. They move to a rhythm of murmurs, some broken cracks. Often, their movement also breaks. Suddenly sexuality and eroticism disappear. Instead there is random movement, some unity, dancers’ beating hearts and vibrating bodies. Single rhythms try to catch a common rhythm. It doesn’t work though. “Synchronicity” becomes impossible. Each dancer, although dancing in a group, is a lone-wolf. Like in a real life. Bartlomiej Miernik, TEATR nr 06/2006
