tag:blogger.com,1999:blog-20924623352156202962024-03-05T02:32:05.769-08:00Ula ZerekAnonymoushttp://www.blogger.com/profile/09254001772154409128noreply@blogger.comBlogger8125tag:blogger.com,1999:blog-2092462335215620296.post-77380494046386963532018-10-26T08:27:00.000-07:002018-10-26T08:27:07.368-07:00Dance - the art of relations<div style="line-height: 28.479999542236328px; margin-bottom: 0in;">
<span style="color: black;">Humans had been expressing their needs and emotions far before developing speech or any other civilised skills. A body as a source of movement is the closest and primary form for experiencing life as well as perceiving surrounding world.</span></div>
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<span style="color: black;">Dealing with dance as a form of artistic expression I question myself upon the essence of dance both as a dancer and a researcher of the meaning contained in presentations. Contradictory to visual arts, literature and even music dance is life and ephemeral art that becomes in time and space in front of a spectator. Without time and space the experience would not be possible. The input on dance of the reality and human condition draws art trends. Observing transformation of the art of dance, searching for deeper understanding of its roots as well as for artistic self reflection I have come upon with principles which can define the essence of my dance. Except for condition of time and space I also find a fusion of body and mind a crucial aspect. This relation may work both ways, brain dictating precised instructions to the body and the body informing brain where it wants to go, though the most interesting seem to be constant “team work” of the two. Thanks to uniqueness of every individual and unlimited ways of expression dance may be a tool for exceeding stereotypes and limiting ideologies, defining ones identity. From a form of a physical practice to a form of art, dance is emerging in confrontation of an artist and a spectator, building a very special, primary channel of non verbal communication.</span></div>
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<span style="color: black;">All the elements – body, mind, time, space, artist, spectator may take different configurations influencing each other. Therefore I define my dance as the art of relations. Direct input on individual character of dance experience and dance interpretation seems to lay in body awareness which is a never ending challenge. I believe this human phenomenon is placed between body and mind and it triggers constant change and urge for development which evokes another type of important relation for dance which is theory and practice connection. One could not go without the other. It helps the spectator to understand and follow the dance but is also a crucial feedback and motor for a dancer. It builds a discourse and develops a tradition.</span></div>
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<span style="color: black;">In my work I mean to examine and follow the primal essence of dance reaching beyond explicit meanings and theories staying aware and open for all the changing elements of the context.</span><span style="color: black;"></span></div>
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Anonymoushttp://www.blogger.com/profile/09254001772154409128noreply@blogger.com0tag:blogger.com,1999:blog-2092462335215620296.post-80736518879555168872017-10-05T03:00:00.001-07:002017-10-05T03:16:46.210-07:00Exposure (2017)<div style="line-height: 115%; margin-bottom: 0in;">
<span style="color: #1c1c1c;"><span style="font-family: "helvetica" , "arial" , sans-serif;">Interesuje
mnie czas jako niejednolita miara jednostkowego doświadczenia
teraźniejszości, skonstruowana z wielu warstw i pozałamywanych
płaszczyzn, które mimo nierozerwalności wydają się momentami
osobne i odległe. W zależności od przyjętej perspektywy
odczuwanie, percepcja i kształt czasu się zmieniają. Możliwy jest
tylko jeden wymiar fizycznego doświadczenia czasu, którego
dopełnieniem jest przestrzeń. Jednak zasięg emocji pozwala na
szersze postrzeganie rzeczywistości, przekraczając strefę
komfortu. Świadomość równoległości czasów budzi stany w różnym
natężeniu i sile, wpływając na odczuwanie własnej
czaso-przestrzeni.</span></span></div>
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<span style="color: #1c1c1c;"><span style="font-family: "helvetica" , "arial" , sans-serif;">W
eksploracji zagadnienia czasu konfrontuję ruch z fotografią na
zasadzie partnerstwa i jednoczesnego przeciwstawienia, przyjmując w
punkcie wyjścia ruch za przepływ czasu, a fotografię za próbę
jego zatrzymania. </span></span>
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<span style="color: #1c1c1c;"><span style="font-family: "helvetica" , "arial" , sans-serif;">Odwracając
to ogólne założenie i wykorzystując światło jako podstawowy
warunek wyłonienia się fotografii, skupiam uwagę na detalu obrazu
zarówno ruchomego oraz w zatrzymaniu, budując osobistą ekspozycję
ruchu. </span></span>
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<br /></div>
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<span style="color: #1c1c1c;"><span style="font-family: "helvetica" , "arial" , sans-serif;"><span style="font-size: small;">Choreografia:
Ula Zerek</span></span></span></div>
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<span style="color: #1c1c1c;"><span style="font-family: "helvetica" , "arial" , sans-serif;"><span style="font-size: small;">Fotografia:
Tomek Zerek</span></span></span></div>
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<span style="color: #1c1c1c;"><span style="font-family: "helvetica" , "arial" , sans-serif;">Muzyka:
WODA – Adam Witkowski&Krzysztof Arszyn Topolski</span></span></div>
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<span style="color: #1c1c1c;"><span style="font-family: "helvetica" , "arial" , sans-serif;"><br /></span></span></div>
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<span style="color: #1c1c1c;"><span style="font-family: "helvetica" , "arial" , sans-serif;">Produkcja:Ciało/Umysł 2017_Exchange:Change</span></span><br />
<span style="color: #1c1c1c;"><span style="font-family: "helvetica" , "arial" , sans-serif;">premiera: 03.10.2017 Warszawa</span></span><br />
<span style="color: #1c1c1c;"><span style="font-family: "helvetica" , "arial" , sans-serif;"><br /></span></span>
<span style="color: #1c1c1c;"><span style="font-family: "helvetica" , "arial" , sans-serif;">Notes from the working process:<br />
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<span style="color: black;"><span style="font-family: Verdana, sans-serif;">The field of this work is dance&photography
relation, dance as a flow of time and photography as its capture. I
initially got inspired with Eadweard Muybridge and his motion study
pictures. </span></span><span style="color: black;"><span style="font-family: Verdana, sans-serif;"><span style="font-size: small;"><span lang="en-US">Trying
to stop the movement he made set of pictures creating moving image.
This circular paradox of time in Muybridge's works as well as desire
of grasping the imperceptible are both very interesting aspects for
me.</span></span></span></span></div>
<div lang="en-US" style="line-height: 115%; margin-bottom: 0in;">
<span style="color: black;"><span style="font-family: Verdana, sans-serif;">I
want to search for performative processes within photography, moments
where the essence of photography is. Together with a photographer (Tomek Zerek) we agreed that the essence of photography comes with light and so we're going to work with the light, choreographing the light,
observing how the image emerges. </span></span></div>
<div lang="en-US" style="line-height: 115%; margin-bottom: 0in;">
<span style="color: black;"><span style="font-family: Verdana, sans-serif;">Dance in this context should be pure embodied emotion not in a
highly expresional form though, rather I call it intensive minimal
subtlety. Movement wise I focus on detail, subtle impulses. </span></span><span style="font-family: Verdana, sans-serif;">Concerning
the time I refer to different times I feel in my life. The time of my
biology, the time of the world's anxiety, the time of my
relationships with other people, the time of maternity - this
experience feels very physical. I sense them with different dynamics,
frequency, shapes, layers of my body and mind. Time always comes within space. </span></div>
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Anonymoushttp://www.blogger.com/profile/09254001772154409128noreply@blogger.com0tag:blogger.com,1999:blog-2092462335215620296.post-51269052981326012052016-05-13T05:37:00.000-07:002017-05-18T13:39:44.528-07:00Więzi _ Taniec jako sztuka relacji (2015)<br />
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<span style="color: #3a3a3a;"><span style="font-family: "helvetica" , "arial" , sans-serif;"><span style="font-size: small;"><span lang="pl-PL"><i><b>Więzi</b></i></span></span></span></span><span style="color: #3a3a3a;"><span style="font-family: "helvetica" , "arial" , sans-serif;"><span style="font-size: small;"><span lang="pl-PL">
to instalacja przestrzenna stworzona w pracowni Koloni Artstów w
Gdańsku połączona z działaniem performatywnym autorstwa Uli
Zerek, zrealizowana w ramach pracy dyplomowej w Międzywydziałowym
Instytucie Nauk o Sztuce na Akademii Sztuk Pięknych w Gdańsku.
Praca powstała w wyniku rozważań teoretycznych wokół tematu
tańca jako sztuki relacji oraz praktycznej realizacji choreografii
wykorzystanej w kontekście sztuk wizualnych. Podstawę do
artystycznych poszukiwań stanowiły z jednej strony wzajemne relacje
zachodzące między elementami składającymi się na taniec,
przebiegającymi na połączeniach ciało-umysł, czas-przestrzeń,
teoria-praktyka, twórca-odbiorca. Z drugiej strony praca porusza
temat więzi międzyludzkich, poprzez prześledzenie form zależności
i potraktowanie ich jako zadania choreograficznego. </span></span></span></span>
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<br /></div>
<div lang="pl-PL" style="font-style: normal; font-weight: normal; line-height: 150%; margin-bottom: 0in;">
<span style="color: #3a3a3a;"><span style="font-family: "helvetica" , "arial" , sans-serif;"><span style="font-size: small;">opieka
teoretyczna : dr Łukasz Guzek</span></span></span></div>
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</div>
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<span style="color: #3a3a3a;"><span style="font-family: "helvetica" , "arial" , sans-serif;">opieka
artystyczna: dr hab. Marek Targoński</span></span><br />
<span style="color: #3a3a3a;"><span style="font-family: "helvetica" , "arial" , sans-serif;"><br /></span></span>
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<span style="color: #3a3a3a;"><span style="font-family: Helvetica, Arial, sans-serif;"><span style="font-size: small;"><span lang="en-US"><i><b>Ties</b></i></span></span></span></span><span style="color: #3a3a3a;"><span style="font-family: Helvetica, Arial, sans-serif;"><span style="font-size: small;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;">
is a space installation with a performative action created by Ula
Zerek as a part of her diploma work at The Academy of Fine Arts in
Gdańsk. The work is based on theoretical research on a subject of
dance as the art of relations. It also aims at confronting
choreographic language with perception of visual arts. The process
follows constant analyses of relations between subjectively chosen
elements creating dance: body-mind, time-space, theory-practice,
artist-viewer as well as transformation of ties bending human
relationships into choreographic score.</span></span></span></span></span></span></div>
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</span></span><br />
<div lang="en-US" style="line-height: 150%; margin-bottom: 0in;">
<span style="color: #3a3a3a;"><span style="font-family: Helvetica, Arial, sans-serif;">The
work was designed in an integrative way to Kolonia Artystów studio
in Gdańsk therefore it can change its shape according to the space.
Originally it consisted of 3 rooms, each reflecting different
character of human relationships and one object in between the rooms.
The spaces were integrated by the action of a performer passing
through them and leading the audience.</span></span></div>
<div lang="en-US" style="line-height: 150%; margin-bottom: 0in;">
<span style="color: #3a3a3a; font-family: Helvetica, Arial, sans-serif;">thesis tutor: Phd Łukasz Guzek</span></div>
<div lang="en-US" style="line-height: 150%; margin-bottom: 0in;">
<span style="color: #3a3a3a; font-family: Helvetica, Arial, sans-serif;">tutor: Phd Marek Targoński</span></div>
</div>
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Anonymoushttp://www.blogger.com/profile/09254001772154409128noreply@blogger.com0tag:blogger.com,1999:blog-2092462335215620296.post-81141591309007543592016-05-13T05:25:00.002-07:002016-05-13T05:25:48.400-07:00in memoriam (2014)<span style="color: #444444; font-family: Arial, Helvetica, sans-serif;">Spotkanie pięciu kobiet. Fortepian, wiolonczela, obój oraz dwa ciała tańczące. </span><div>
<span style="color: #444444; font-family: Arial, Helvetica, sans-serif;">Dwa utwory in memoriam Witolda Lutosławskiego: </span></div>
<div>
<span style="color: #444444; font-family: Arial, Helvetica, sans-serif;"><i>Grave</i> i <i>Epitafium na obój i fortepian</i>.</span></div>
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<span style="color: #444444; font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div>
<span style="color: #444444; font-family: Arial, Helvetica, sans-serif;">Prezentacja pracy odbyła się w Galerii Pionova.</span></div>
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Anonymoushttp://www.blogger.com/profile/09254001772154409128noreply@blogger.com0tag:blogger.com,1999:blog-2092462335215620296.post-67181308490991341552016-05-13T04:58:00.002-07:002016-05-13T04:58:52.442-07:00Lutosfery. Kilka kroków do Lutosławskiego (2013)Epitafium na obój i fortepian.<br />
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Miniatura badająca relację kompozycji muzycznej i choreografii. Praca stworzona w ramach projektu <i>Kilka kroków do Lutosławskiego</i>, w którym brało udział 5 młodych choreografów w konsultacji choreograficznej z Marysią Stokłosą.<br />
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<a href="http://culture.pl/pl/wideo/kilka-krokow-do-lutoslawskiego-warsztaty-w-burdagu-wideo" rel="nofollow" target="_blank">praca w Burdągu</a><br />
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<br />Anonymoushttp://www.blogger.com/profile/09254001772154409128noreply@blogger.com0tag:blogger.com,1999:blog-2092462335215620296.post-22870008863723122012016-05-02T04:59:00.000-07:002017-10-05T03:17:49.159-07:00Istota (2012)<div align="JUSTIFY" style="line-height: 150%; margin-bottom: 0in;">
<span style="color: #333333;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-weight: normal;">pomysł/choreografia/wykonanie: Ula Zerek</span></span></span></span><br />
<span style="color: #333333;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-weight: normal;">instalacja: Urszula Wasielewska</span></span></span></span><br />
<span style="color: #333333;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-weight: normal;">muzyka: Izes oraz TrupaTrupa</span></span></span></span><br />
<span style="color: #333333;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-weight: normal;">foto/video: Tomek Zerek</span></span></span></span><br />
<span style="color: #333333;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-weight: normal;">video: Honorata Martin</span></span></span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwby9X-QUozJK4HJg3hqZ4HKd-YOW48akAw-NShCUCMlDqQ9pM9lfByv6BEiGwzHNHzEi1K9Bf8FlSeLv9Ddw' class='b-hbp-video b-uploaded' frameborder='0'></iframe></span></div>
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<span style="color: #333333;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: x-small;"><span style="font-weight: normal;"><br /></span></span></span></span>
<span style="color: #333333;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><span style="font-weight: normal;"><i>Poradnik Gospodyni Wiejskiej</i> z roku 1955. Obszerna księga zawierająca bardzo szeroki zakres różnorodnych porad dla kobiet, od przepisów na kluski, przez instrukcje jak skonstruować koryto dla świń z wahadłową klapą, wskazówki jak opatrzeć rany cięte, a jak szarpane, po wytyczne dotyczące pożycia małżeńskiego i skutki bicia dzieci. Wydanie w sztywnej okładce, porządnie przewertowane. </span></span></span></span><br />
<span style="color: #333333;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><span style="font-weight: normal;">KOBIETA - gospodyni domu, kucharka, zarządca gospodarstwa, maszyna wszystko potrafiąca; matka, żona, wdowa; żyjąca istota czująca, pragnąca, przepełniona lękiem.</span></span></span></span><br />
<span style="color: #333333;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><span style="font-weight: normal;">Być może w stereotypowych rolach tkwi coś pierwotnego i potrzebnego, pomagającego zrozumieć Istotę?</span></span></span></span><br />
<span style="color: #333333;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><span style="font-weight: normal;">William Blake podobno zapytał swoją żonę:</span></span></span></span><br />
<span style="color: #333333;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><span style="font-weight: normal;">"Do you pity me? Then I love you."</span></span></span></span></div>
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<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: 10pt;"><br /></span></span></span>
<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: 10pt;"><a href="https://vimeo.com/59727470" target="_blank">ISTOTA - video Honorata Martin</a></span></span></span><br />
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Anonymoushttp://www.blogger.com/profile/09254001772154409128noreply@blogger.com0tag:blogger.com,1999:blog-2092462335215620296.post-24171268980185243162016-05-02T04:33:00.000-07:002016-05-02T04:33:13.801-07:00Memo (2011)
<div align="JUSTIFY" style="margin-bottom: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">pomysł: Ula Zerek/Szymon Wróblewski</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">występują: Justyna Bartoszewicz, Ula Zerek</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">dramaturgia: Szymon Wróblewski</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">muzyka: Michał Gos</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">design: Julia Cyrzan, Ula Wasielewska</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">premiera: 10 kwietnia 2011 Klub Żak, Gdańsk</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div align="JUSTIFY" style="margin-bottom: 0in; margin-top: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><i>Memo</i> to próba zmierzenia się z materią pamięci. Inspirując się
tekstami neurobiologa Olivera Sacksa (autora słynnej książki
„Mężczyzna, który pomylił swoją żonę z kapeluszem“)
oraz historyka psychologii Douwe Draaismy mierzyliśmy się
z fenomenami działań naszego mózgu. Nadmiar zapamiętywania
jako droga do kompulsywnego działania wbrew logice oraz deficyt
pamięci czyli zerwanie podstawowego dla ludzi poczucia kontinuum
czasu. </span>Czy
można odkroić nawarstwiające się historie skalpelem? Albo dokleić
brakujące elementy? Czy można wymazać wspomnienia, które – jak
tatuaże na skórze bohatera filmu „Memento“ – pozwalają ciału
zapamiętać historię? A może – jak w bajkowych rytuałach –
przepisem na odczynianie wspomnień jest odwracanie biegu wydarzeń i
powrót do Początku?
</span></div>
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<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><span style="font-family: Arial, Helvetica, sans-serif;"><i>Memo</i> to wejście w ciało czasu – moment, w którym zapamiętujemy i
który potem staramy się odtworzyć.</span></span></div>
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Anonymoushttp://www.blogger.com/profile/09254001772154409128noreply@blogger.com0tag:blogger.com,1999:blog-2092462335215620296.post-12148926589495742032016-05-02T04:20:00.000-07:002016-05-02T04:20:17.864-07:00Humuli Lupuli (2009)<h1 class="western">
<span style="font-size: small; font-weight: normal;"><span style="font-family: Tahoma, sans-serif; line-height: 150%;">Pomysł/choreografia/wykonanie:</span><span style="font-family: Tahoma, sans-serif; line-height: 150%;">
Ula Zerek</span></span></h1>
<div align="LEFT" class="western" style="line-height: 150%;">
<span style="color: black;"><span style="font-family: Times New Roman, serif;"><span style="font-family: Tahoma, sans-serif;">Muzyka (na
żywo)<b>:</b></span><span style="font-family: Tahoma, sans-serif;"> Dominik Bukowski
(marimba) i Zofia Wróbel (wiolonczela)<br />Premiera: 07.03.2009</span></span></span></div>
<div align="LEFT" class="western" style="line-height: 150%;">
<br />
</div>
<div class="western">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">Przygotowując <i>Humuli
Lupuli</i> chciałam nie tyle nadać ruchowi znaczenie, co wypełnić
go pewną myślą i uczuciem, refleksją nad ludzką starością.</span></div>
<div align="LEFT" class="western" style="line-height: 150%;">
<span style="color: black;"><span style="font-family: Tahoma, sans-serif;">Kiedyś
człowiek stary był symbolem życiowej mądrości zajmując ważne
miejsce w społeczeństwie. Dzisiaj rządzi młodość, a ludzie
unikają niewygodnej myśli o starości swojej i innych. Dlaczego w
ludziach nie ma zgody na starość? Czy starość może być czasem
spokoju, szczęścia i spełnienia? W jaki sposób upływ czasu
wpływa na człowieka i na relacje między ludźmi? Życiowe role –
matki, córki, wnuczki z biegiem czasu przenikają się, a nawet
odwracają się. Życie więc, od narodzin, przez młodość,
starość, po śmierć zdaje się zataczać pewien kręg. – Ula
Zerek</span></span></div>
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</div>
<div style="font-weight: normal;">
<span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><span style="font-size: small;"><i>Tkanka
spektaklu utkana jest z ruchu, muzyki i światła, które jako
równoważne elementy dzieła współtworzą obraz. Całość tworzy
harmonijną kompozycję z której emanuje delikatny spokój, ożywiony
ciekawością wobec na nowo odkrywanych elementarnych prawd: upływ
czasu, ciągłość pokoleń, zmian zachodzących w naszym ciele oraz
niezmienności ducha wypełnionego emocjami. </i></span></span></span>
</div>
<span style="font-family: Arial, sans-serif;"><span style="color: black;"><span style="font-family: Tahoma, sans-serif;"><i>...Ula
Zerek z wdziękiem recytuje wyliczanki z dawnych lat tańcząc po
linii koła, zgodnie z ruchem zegara- symbolicznie oddając hołd
upływowi czasu, który w tym spektaklu nie jest agresywny i
demoniczny, odwrotnie, pozwala uchwycić piękno w relacjach między
pokoleniami.</i></span></span><span style="color: black;"><span style="font-family: Tahoma, sans-serif;">
– Alicja Mańkowska</span></span></span><br />
<br />
<br />
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<span style="color: black;"><span style="font-family: Times New Roman, serif;"><span style="font-family: Tahoma, sans-serif;"><i>...to,
co najbardziej mnie zaintrygowało w całości "Humuli Lupuli -
kwiatu chmielu", to, rzadko spotykana u młodych, początkujących
artystów, odwaga do wprowadzenia w materię spektaklu milczenia -
świadomego, celowego bezruchu. Zerek udało się wyczekać widza,
stanąć naprzeciw niego i spojrzeć mu w twarz. Aż do
rozdrażnienia.</i></span><span style="font-family: Tahoma, sans-serif;"><b>-
</b></span><span style="font-family: Tahoma, sans-serif;"><span style="font-weight: normal;">Magdalena
Hajdysz </span></span><span style="font-family: Tahoma, sans-serif;"><i><span style="font-weight: normal;">Gazeta
Wyborcza</span></i></span><span style="font-family: Tahoma, sans-serif;"><span style="font-weight: normal;">
(10.03.2009)</span></span></span></span></div>
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