Art stations fundation - by Grażyna Kulczyk

In recent years the notion of “dance theater” has enjoyed extreme popularity in the discourse of dance in Poland – it sounds less “foreign” than Tanztheater and more elegant than “theater spectacles of contemporary dance”; we all know, more or less, what kind of art it refers to. But is it actually possible to limit the whole Tanztheater to one formula, one style, one artist? We see how both the phenomenon and the term used for it expand to cover more and more distant regions, losing at the same time something of their original significance. Tanztheater has become a universal key word – an umbrella term which comes in handy in a lot of contexts but, on the other hand, can also block communication, imposing unnecessary labels.

The three lectures of the dance.doc cycle are meant as a challenge to the equivocal terms of Tanztheater and dance theater. Presentations are organized thematically and illustrated by unique audiovisual material.

23.06 / 16:00
There is no single Tanztheater
an outline the historical context in which the Tanztheater concept took shape; the presentation goes back to Rudolf van Laban's theoretical paradigms, covers its subsequent modifications by Kurt Joos (e.g. in his „Green Table”) and finally discusses various manifestations of the “mature” Tanztheater (Pina Bausch, Johann Kresnik, Gerhard Bohner, Susanne Linke, Reinhild Hoffmann).

24.06 / 16:00
Pina Bausch: Defining new boundaries of dance
a story of how Pina Bausch has created her original style, recognizable all over the world. Discussion will follow after watching fragments of selected spectacles from the initial stage of Bausch's choreography career: “Iphigenie auf Tauris” (Iphigene in Tauris), “Blaubart” (Bluebeard), “Frühlingsopfer” (The Victim of Spring), “Café Müller”, “Walzer” (Walces) and “1980 – ein Stück von Pina Bausch” (1980 – A piece by Pina Bausch).

25.06 / 16:00 
Raimund Hoghe - “Cartes Postales”
film projection

27.06 / 16:00
Variations on Tanztheater
a presentation of European dance theaters and various related forms, known under the same (or a completely different) name. The review will begin with choreographies of Sasha Waltz & Guests, representing the so-called Posttanztheater, proceeding through traces of Tanztheater found in the Polish tradition (Tadeusz Kantor, Jerzy Grotowski, Wojciech Misiuro, Henryk Tomaszewski) and, finally, presenting the British DV8 Physical Theatre.