“In the Quiet Room”

The starting point for the choreography is Edward Hopper’s painting “Room in New York” (1932).
The piece draws inspiration from the atmosphere of emotional isolation and the tension between two people sharing the same space while remaining internally distant.
The performance examines the state of “loneliness for two,” a silence dense with unspoken words, and the moment when movement emerges from stillness. The dramaturgical focal point is the motif of a single piano note—treated as a gesture, an attempt at contact, an impulse for dance to arise.
The choreography evolves from “undancing”—a raw, almost imperceptible movement—toward a gradual densification of the relationship and a physical culmination that brings no resolution, leaving behind an open space of tension.

“Interesting = everything x long” – FAZA Dance Company

Everything becomes interesting if we give it enough attention. Similarly, within a relationship, what is shared gains meaning when we stay with it long enough and allow the shapes of mutual existence to reveal themselves gradually.
The duet tells the story of a shared shape, the joy of recognizing it, and the curiosity with which one discovers its successive iterations. It is a tale of accepting form as it is perceived, and of a relentless search for its new configurations.
In the rhythm of movement, in the silhouettes and sequences of trees, the dancers find metaphors for relationships: closeness and distance, the tension between what is shared and what is distinct.
How does form shift when we stand beside one another, and how does it change when viewed from a distance?
The duet seeks answers by letting time, attention, and presence give meaning to every gesture.

“Meat – Act Zero” (“Mięso – akt zerowy”)

This work addresses the body within the meat industry. The composition’s soundtrack is largely composed of field recordings documenting slaughterhouse operations, while the movement material is partially drawn from observing animal bodies functioning within an industrial system. A key point of reference is the figure of Moloch from Allen Ginsberg’s poem “Howl”, conceived here as an impersonal system driven by cold calculation. Moloch assumes the role of an imagined stage partner dictating the body’s actions.
The body is reduced to a purely biological function, and its death is stripped of both symbolic and spiritual meaning.

“Once Upon a Dream”

the forest does not appear suddenly
chance must happen first

someone turns their gaze
someone pauses a second too long
someone appears right
when they are meant to
and one cannot even tell
if it is still chance
or patient history
resting its hands on the nape of the neck
leading further
and among the trees a familiar presence emerges

like a memory
that occurred earlier
than in truth

so she walks on
dreamily
not because she must
rather because
some encounters
look
as though they were promised to someone

“To/nie Ona” – Teatr Tańca ZMYSŁ

In a bottle-green gown
She presents, straightens her spine
Wearing a mournful mien A face smiling and fine
The body is not her
Beneath the slip runs heat
Soft skin, touched and stirred
Thirsting, eager to meet
Tremors checked by the chains
She is not the body

White veils the brow’s sweep
And the gaze, gone astray
Time turns its full loop
Poor harvest on display
She drowns / a body in decay

The performance explores the process of constructing female identity at the intersection of sexuality and sensuality. It addresses the tensions between social norms and inner needs, expectations and desires. The relationship between a woman and her body proves to be shaped by history, systems of power, traditions, and customs. Female sexuality oscillates between the individual, private, and intimate, while remaining within the collective and public sphere. The performance aims to explore the multifaceted ways in which women’s relationships with their corporeality and sexuality take form.

“Bold” – LTT2

The piece draws on the mythology of the Świętokrzyskie region’s Łysa Góra (rising to 594 m a.s.l.), transforming an ancient, patriarchal myth of a witches’ sabbath into a contemporary, physical manifesto of sisterhood and rebellion.
Young women gather at the summit to perform a collective ritual of severing ties with social expectations, corsets, and externally imposed roles. Here, the sabbath is not an homage to darkness, but a safe space of radical honesty, trust, reclaiming one’s voice, and taking responsibility for it.