Céile Pegaz, Ryszard Kalinowski
original soundtrack from Kieślowski’s Decalogue I
Stanisław Wiśniewski, Perrine Leclere
with support from
DRAC (Aide au projet de création choréograpgique) and the Rhône-Alpes region
Culture Center in Lublin
The window is such an object – or a tool – which can be opened and closed, which consists of parts perfectly adjacent on the inside and out, impossible to tell apart. Through everyday use it melts into our life and becomes invisible, though it defines our view all the time. Just like the TV set… (…)
“Stanisław Wiśniewski skillfully fuses formal rigor and textual context, blending immense sensitivity into his performance. His choreographies are remarkable for their striking accuracy and the huge space which they leave open for our imagination… The artist delivers brave interpretations of contemporary works and imbues them with new meanings, never relying on simple solutions based just on tautology or negation. Stanisław Wiśniewski is a choreographer of rare value, he cannot possibly be overlooked.”
Pierre Alain Jaffrennou, composer, the director of Gramme.
“Guiding us to the world of most powerful visual sensations, whose interpretation is left to both the viewer and the performer himself, (…) Wiśniewski invites us to participate in the creation of new senses...”
Nass Hassani / Le Progrès
Stanisław Wiśniewski as a professional dancer, at a very young age, when he lived in Poland, he got familiar with rich choreographic tradition encompassing traditional dances, classical dance and modern dance. Together with director and choreographer Konrad Drzewiecki at the Polish Dance Theater in Poznań, he took part in the first contemporary dance productions in Poland. Twelve years ago he decided to move to France, where his interests developed in the directions of neo-classical repertoire, the Modern Technique and contemporary dance. He danced at the Lyon National Opera Ballet, where he met such dancers as Maguy Marin, Bill T. Jones, Angelin Preljocaj, Mats Ek, Christopher Bruce, William Forsythe, and where he created his first choreographies, one of which gained him a Tokyo International Choreography Competition Award in 1991.
In 1995 he set up his own ensemble and concentrated on choreography. A turning point in his chorographical development was marked by the spectacle Portraits (1995), which has defined all the leitmotifs of his artistic pursuit: subjectivity and the impossibility to view modern times from one vantage point, the “Era of Me” and of accumulation, the times of representation and automatized reproduction. Memory and the present time, identity and cultural diversity – these are the themes rooted directly in the artists’ personal experience.