{"id":7023,"date":"2023-08-08T09:59:45","date_gmt":"2023-08-08T09:59:45","guid":{"rendered":"https:\/\/nck.krakow.pl\/kcc\/?p=7023"},"modified":"2023-08-08T09:59:47","modified_gmt":"2023-08-08T09:59:47","slug":"dlon-do-dloni","status":"publish","type":"post","link":"https:\/\/nck.krakow.pl\/kcc\/blog\/dlon-do-dloni\/","title":{"rendered":"D\u0141O\u0143 DO D\u0141ONI"},"content":{"rendered":"\n\n\n\n\n

D\u0141O\u0143 DO D\u0141ONI<\/h2>\n\n\n\n

Ola Bratkowska<\/p>\n\n\n\n

Widzowie wierc\u0105 si\u0119 w swoich fotelach. Odwracaj\u0105, szepcz\u0105, wpatruj\u0105 w telefony. Wtedy z lewej kulisy wychodzi dw\u00f3ch m\u0119\u017cczyzn w \u017c\u00f3\u0142tawych kr\u00f3tkich spodenkach. Nie wszyscy od razu odnotowuj\u0105 ich obecno\u015b\u0107. W ko\u0144cu przemykaj\u0105 na \u015brodek sceny w milczeniu, a niegasn\u0105ce \u015bwiat\u0142o nie daje wyra\u017anego znaku, \u017ce co\u015b si\u0119 ju\u017c zacz\u0119\u0142o.<\/p>\n\n\n\n

A zaczyna si\u0119 bardzo spokojnie. Axel Gu\u00e9rin i Alexander Vantournhout badaj\u0105 si\u0119 nawzajem \u2013 obserwuj\u0105 d\u0142onie, ramiona, nogi, tu\u0142owia. Skrupulatnie mierz\u0105 r\u00f3\u017cnice d\u0142ugo\u015bci, testuj\u0105 zasi\u0119gi swoich cia\u0142. W ka\u017cdym elemencie analizy punktem odniesienia jest druga osoba. Druga, bardzo podobna osoba: podobnie umi\u0119\u015bniona, podobnie poruszaj\u0105ca si\u0119, podobnie ubrana, ale jednocze\u015bnie niesamowicie inna.<\/p>\n\n\n\n

Performerzy eksploruj\u0105 mo\u017cliwo\u015bci poruszania si\u0119 razem, d\u0105\u017c\u0105 do r\u00f3wnowagi, symetrii. Odchylaj\u0105 si\u0119, przyci\u0105gaj\u0105, opadaj\u0105, splataj\u0105. W swoich poszukiwaniach nie koncentruj\u0105 si\u0119 jednak na sobie, na jednostce. Staj\u0105 si\u0119 jednym organizmem \u2013 dziwnym, dwug\u0142owym i o\u015bmioko\u0144czynowym tworem. To organizm galopuj\u0105cy, cz\u0142api\u0105cy, skacz\u0105cy, turlaj\u0105cy si\u0119, pe\u0142zaj\u0105cy, ale robi\u0105cy to wszystko z niesamowit\u0105 precyzj\u0105 i lekko\u015bci\u0105. Arty\u015bci poruszaj\u0105 si\u0119 tak p\u0142ynnie, tak zwinnie, jakby robili to od zawsze. Jakby kolejne wygi\u0119cia cia\u0142 by\u0142y czym\u015b nadzwyczajnie naturalnym. Dopiero zaczerwienione policzki przypominaj\u0105 o tym, \u017ce niemal ka\u017cdy gest wymaga nadzwyczajnego wysi\u0142ku. A to dopiero pocz\u0105tek.<\/p>\n\n\n\n

Cho\u0107 spektakl bawi si\u0119 tempem \u2013 wolniejsze momenty przeplataj\u0105 si\u0119 z tymi bardziej intensywnymi, to jednak druga cz\u0119\u015b\u0107 jest znacznie szybsza. Performerzy maj\u0105 mniej czasu na odpoczynek, a kolejne budowane przez nich konstrukcje s\u0105 bardziej wymagaj\u0105ce, bardziej niebezpieczne. Ich cia\u0142a l\u015bni\u0105 od potu, twarze i klatki piersiowe s\u0105 ca\u0142e czerwone, oddechy przyspieszone. M\u0119\u017cczy\u017ani zajmuj\u0105 coraz wi\u0119cej miejsca, podnosz\u0105 si\u0119, si\u0119gaj\u0105 coraz wy\u017cej i wy\u017cej, gdy nagle \u015bwiat\u0142o ga\u015bnie. Cho\u0107 trudno nie zastanawia\u0107 si\u0119, co by by\u0142o dalej, to jestem w tych rozmy\u015blaniach spokojna. Wiem, \u017ce nic si\u0119 nikomu nie stanie, nikt nie spadnie.<\/p>\n\n\n\n

Sw\u00f3j spok\u00f3j zawdzi\u0119czam rodzajowi dotyku, jaki obserwowa\u0142am od pocz\u0105tku spektaklu. Od pierwszego zetkni\u0119cia d\u0142oni jest to dotyk delikatny, ale jednocze\u015bnie silny, gwarantuj\u0105cy bezpiecze\u0144stwo. Dotyk, kt\u00f3ry wydaje si\u0119 s\u0142aby, a jednak zostawia na sk\u00f3rze czerwone \u015blady. Dotyk niezwykle czu\u0142y, jak czu\u0142a, ale w nieerotycznym sensie, jest relacja mi\u0119dzy performerami. Ukradkowe spojrzenia, mu\u015bni\u0119cia d\u0142oni lub nieznacznie przeci\u0105gany kontakt \u2013 to by\u0142y drobiazgi, chwile mog\u0105ce umkn\u0105\u0107, ale b\u0119d\u0105ce dowodem na to, \u017ce niewerbalny dialog mi\u0119dzy nimi trwa od momentu wej\u015bcia do momentu zej\u015bcia ze sceny.<\/p>\n\n\n\n

Gu\u00e9rin i Vantournhout przez ca\u0142y czas maj\u0105 pe\u0142n\u0105 kontrol\u0119. Nie potrzebuj\u0105 imponuj\u0105cej scenografii, poniewa\u017c wype\u0142niaj\u0105 przestrze\u0144 sob\u0105. Nie potrzebuj\u0105 prowadz\u0105cej spektakl muzyki, poniewa\u017c w du\u017cej mierze sami j\u0105 wytwarzaj\u0105. Oddechy, pla\u015bni\u0119cia, tupni\u0119cia, \u0142upni\u0119cia, szurni\u0119cia nadawa\u0142y im rytm, a decyzje, kiedy ruch ma, a kiedy nie ma zako\u0144czy\u0107 si\u0119 d\u017awi\u0119kiem, by\u0142y bardzo \u015bwiadome. Nie potrzebuj\u0105 te\u017c efektownych kostium\u00f3w, poniewa\u017c pulsuj\u0105ce \u017cy\u0142y, na zmian\u0119 napinaj\u0105ce si\u0119 i rozlu\u017aniaj\u0105ce mi\u0119\u015bnie s\u0105 ciekawsze od jakichkolwiek ubra\u0144. Nie potrzebuj\u0105 ani skomplikowanych historii, ani efekt\u00f3w specjalnych, ani dodatkowych ozdobnik\u00f3w. Wystarczy scena, kilka \u015bwiate\u0142 oraz oni sami. No i mo\u017ce pe\u0142na energii widownia. W ko\u0144cu chc\u0105 kogo\u015b przez ten labirynt winoro\u015bli i cia\u0142 przeprowadzi\u0107.<\/p>\n\n\n\n

\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n

\u201eThrough the Grapevine\u201d \u2013 Alexander Vantournhout<\/strong><\/p>\n\n\n\n

Koncepcja i choreografia: <\/strong>Alexander Vantournhout
Stworzony i wykonany przez:<\/strong> Axel Gu\u00e9rin & Alexander Vantournhout
Asystent choreografa:<\/strong> Emmi V\u00e4is\u00e4nen
Kompozytor:<\/strong> Andrea Belfi
Dramaturgia:<\/strong> Rudi Laermans
Projekt o\u015bwietlenia:<\/strong> Caroline Mathieu
Propozycja o\u015bwietlenia:<\/strong> Harry Cole
Technika:<\/strong> Rinus Samyn
Kostiumy:<\/strong> Anne-Catherine Kunz
Scenografia koncepcyjna:<\/strong> Bjorn Verlinde
Oko zewn\u0119trzne:<\/strong> Anneleen Keppens, Maria Ferreira Silva
Podzi\u0119kowania dla:<\/strong> S\u00e9bastiena Hendrickxa, Very Tussing, Esse Vanderbruggen
Dystrybucja:<\/strong> Frans Brood Productions
Kierownik kompanii:<\/strong> Esther Maas
Kierownik produkcji:<\/strong> A\u00efda Gabri\u00ebls
Produkcja:<\/strong> not standing
Koprodukcja:<\/strong> Arts Centre VIERNULVIER, PERPLX, CENTQUATRE, Cirque-th\u00e9\u00e2tre, Subsistances, Th\u00e9\u00e2tre de la Ville de Luxembourg , MA sc\u00e8ne nationale \u2013 Pays de Montb\u00e9liard, Les Hivernales CDCN,, Malpertuis, Theater Freiburg, Th\u00e9\u00e2tre des Quatre Saisons, Th\u00e9\u00e2tre de l \u201eArsenal, Val-de-Reuil
Rezydencje:<\/strong> les ballets C de la B, Arts Centre VIERNULVIER , STUK, Subsistances, Wood Cube, Roeselare, Workspacebrussels<\/p>\n\n\n\n

Spektakl prezentowany 5.08.2023 w ramach Krakowskiego Festiwalu Ta\u0144ca w Nowohuckim Centrum Kultury (Scena NCK).<\/p>\n\n\n\n

Fot. Klaudyna Schubert<\/p>\n\n\n\n

Tekst powsta\u0142 w ramach warsztat\u00f3w krytyki podczas 3. edycji Krakowskiego Festiwalu Ta\u0144ca<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":5,"featured_media":7027,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[29,1],"tags":[],"class_list":["post-7023","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-teksty","category-uncategorized"],"yoast_head":"\nD\u0141O\u0143 DO D\u0141ONI - Krakowskie Centrum Choreograficzne<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/nck.krakow.pl\/kcc\/blog\/dlon-do-dloni\/\" \/>\n<meta property=\"og:locale\" content=\"pl_PL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"D\u0141O\u0143 DO D\u0141ONI - Krakowskie Centrum Choreograficzne\" \/>\n<meta property=\"og:url\" content=\"https:\/\/nck.krakow.pl\/kcc\/blog\/dlon-do-dloni\/\" \/>\n<meta property=\"og:site_name\" content=\"Krakowskie Centrum Choreograficzne\" \/>\n<meta property=\"article:published_time\" content=\"2023-08-08T09:59:45+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-08-08T09:59:47+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/nck.krakow.pl\/kcc\/wp-content\/uploads\/2023\/08\/through.png\" \/>\n\t<meta property=\"og:image:width\" content=\"830\" \/>\n\t<meta property=\"og:image:height\" content=\"375\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"KCC\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"KCC\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minut\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/nck.krakow.pl\/kcc\/blog\/dlon-do-dloni\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/nck.krakow.pl\/kcc\/blog\/dlon-do-dloni\/\"},\"author\":{\"name\":\"KCC\",\"@id\":\"https:\/\/nck.krakow.pl\/kcc\/#\/schema\/person\/09a344327ebc9be52fb6b2a85b949124\"},\"headline\":\"D\u0141O\u0143 DO D\u0141ONI\",\"datePublished\":\"2023-08-08T09:59:45+00:00\",\"dateModified\":\"2023-08-08T09:59:47+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/nck.krakow.pl\/kcc\/blog\/dlon-do-dloni\/\"},\"wordCount\":767,\"publisher\":{\"@id\":\"https:\/\/nck.krakow.pl\/kcc\/#organization\"},\"articleSection\":[\"teksty\",\"Uncategorized\"],\"inLanguage\":\"pl-PL\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/nck.krakow.pl\/kcc\/blog\/dlon-do-dloni\/\",\"url\":\"https:\/\/nck.krakow.pl\/kcc\/blog\/dlon-do-dloni\/\",\"name\":\"D\u0141O\u0143 DO D\u0141ONI - 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