BEZDROŻE. wilderness
It is a movement-based landscape of intimate masculinity
“BEZDROŻE. wilderness” is a movement-based landscape of intimate masculinity — a masculinity imagined, perhaps unnoticed in everyday life. This performance is painted by a woman, presenting five men on stage in deep attentiveness, coexistence and presence. It is an attempt to meet and to see whether there is space here for tenderness, sensitivity and the strength that arises from them.
The performance is an expression of love and care for men, balancing hardness with softness. Does it matter that it is precisely a female choreographer who invites the creation of such a world? Our Bezdroże is a gentle crack in a defined reality, giving space for something new to emerge.
See photos from the rehearsal of the performance “BEZDROŻE. wilderness.” >>> CLICK
This is the kind of energy you go to the theatre for.
The idea for Bezdroże must have arisen from tenderness toward the human being, because Marta Wołowiec’s performance is a delicate journey into the depths of male (but also universally human) emotions. Bringing together a group of people open to one another, combined with an original concept for the performance, resulted in something that continues to resonate with the audience after the show has ended. This is the kind of energy you go to the theatre for.
Piotr Gaszczyński — Teatr dla Wszystkich
Koncepcja, choreografia: Marta Wołowiec
Kreacja, wykonanie: Mikołaj Karczewski, Paweł Kozłowski, Patryk Gorzkiewicz, Artur Grabarczyk, Piotr Skalski
Music: Wojciech Kiwer
Set design, costumes: Anna Oramus
Dramaturgical collaboration: Marcin Miętus
Lighting design, promotional photos: Klaudyna Schubert
Promotional graphics: Zofia Karpowicz
Promotional video materials: Borys Dubiański
Safe process support: Izabela Szumniak
Production: Fundacja Łagodnie, Marta Wołowiec
Partners: Teatr KTO, Krakow Choreographic Centre – Nowa Huta Cultural Centre, Officyna Dance Studio
The project is co-financed by the City of Kraków.
Co-financed by the Minister of Culture and National Heritage from the Culture Promotion Fund under the “Dance”programme, implemented by the National Institute of Music and Dance.
The performance is also the result of a scholarship carried out by Marta Wołowiec as part of the KPO for Cultureprogramme.
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