BMC – Based awareness of the body – Experimental anatomy/SENSES – Iwona Olszowska
BMC is a way of learning from one own’s experiences and feedback from one’s own body. It’s a way to open the awareness of the body and embodying new possibilities that we discover. It’s  also a time for the body to reinforce movement patterns, and to find effortless, organic movement.
This year we are going to focus on senses.
Working with attention
Working with memory
Expanding the field of perception and communication channels
Senses as an inextricable element of presence on stage
Senses as a means of expression and the basic source of stimulation to act which supports organic movement

IMPROVISATION – Anna Piotrowska
“We must learn to see more, to hear more, to feel more. Our task is not to find the maximum amount of content in a work of art, much less to squeeze more content out of the work than is already there. Our task is to cut back content so that we can see the thing at all.”
Susan Sontag

Susan Sontag’s thought reflects exactly what I’m interested in when it comes to exploring dance and movement. To see more is to see, look, hear; listen and hear. Feeling is present in the touch and the breath, on the surface and deeper inside the body, feeling what is happening with our body in different states, landscapes and events. How can I dive within myself and come out rich with experience, which translates into understanding and trusting myself? “Deeper”, which is the motto of this year’s festival, has been my favourite word recently. What does it mean? It is essential to find out: where is the source of my being? What follows is the understanding of the source of what moves me and, consequently, what moves my body. There is power in simplicity. There is power in weight, in accepting one’s physical body. How do we get pleasure from moving in space, how to create oneself outside and inside? The workshop is about learning to observe ourselves and others in improvisation. It is crucial to constantly deepen our self-awareness and actively observe ourselves while moving (“objective body,” “out of my CRITIC.”) It’s always important to watch the participants and identify their bodily and energy-related needs. A thorough examination results in reaction and creation of the workshop. Working with our weight, looking for flowing movement and defining the moment in which dance can arise in the body that’s moved, being moved, moving… The focus is also on working with energy and engaging the whole body, so called “one body.”

VOICE AND BODY TALES/Speaking Song – Ditte Berkeley
A voice has a tale to tell. In fact, the voice has a million tales to tell, depending on the song it’s singing, the experiences it goes through, the person who is listening, the sounds surrounding it, the state I, who am singing, am in.As an actress I enter into a dialogue with my voice every time we sing a song. I ask, “How are we going to sing this today? What about this sound, how does it feel? What does it say? What tale does it tell?” The exploration takes me further and brings more questions. This is the work of the performer who wishes to make the song a tool for a very deep exchange of experience between the singer and the listener. The voice is naked – it allows us to share on a level that we are not used to and where we often feel unsure. The exploration of its borders and its connections with the physical experience, with images, with associations, enriches our communication tools and allows for a space of discovery.The work session focuses on an exploration into our own voices and our voices reflected and fused in the voices of others; on the strength of standing confident with the sound of our own voice, exploring its richness and building the foundation to support it – through breath, physical support, imagination; on discovering its strength when appearing singly, and its power when it adds to the richness of a common sound created by other voices.


Physical  Theatre – Vivian Wood
The workshops will focus on different fundamental components in actor/dancers work such as co-operation, precision, presence, movement dynamics, reaction and responses.The workshop based sessions will involve movement and text improvisation,  through devised tasks.
Vivien Wood
Performed world wide with internationally acclaimed choreographers including DV8 Physical Theatre,(Happiest Day, The Cost of Living,John) Wendy Houstoun,Rui Horta and Michael Clark.

Choreography and dramatic art – PINK MAMA THEATRE/Sławek Bendrat & DominIk Krawiecki
Sławek Bendat (dancer, choreographer) and Dominik Krawiecki (actor, director) have run the Swiss theatre PINK MAMA for five years. In their projects they engage both actors and dancers. They create peculiar interdisciplinary performances, in which image, movement, voice and text are equally important. They put a lot of emphasis on improvisations that become the main inspiration for particular scenes that are created only later. This five-day workshop aims to show the participants a specific way of working in the theatre, in which dance and acting intertwine and combine.Each day we will begin with physical warm-up, then move on to vocal warm-up and, after a short break, improvisations are going to follow. On their basis, we will later create particular scenes.On the fifth day, we are planning to stage the etudes we will have by then prepared.


GAGA – Natalia Iwaniec

We are going to use our body as a tool for telling the story of what is written inside of us. We will listen and tell stories through our soft, elastic body, which is a wonderful, creative tool for work. Our imagination has no limit. Let our bodies speak to our heads, our hearts. We can discover what is written inside of us over and over again: our ideas, dreams and knowledge. All this we bring to class and use our own language combined with the Gaga language to express it.

CONTEMPORARY DANCE – Magdalena Górnicka
The contemporary dance technique class analyses movement exercises with a focus on exploring them from an anatomy stand point. The aim of the exercise is to extend the movement abilities of the joints. We are going work on finding balance between tension and release – especially in cross lateral movements. We are going to learn complex choreographies and try to divide them into three distinct categories: purposeful, spontaneous and involuntary.

DANCE TECHNIQUE/Floor work- Sławek Bendrat

In his contemporary dance classes, Sławek Bendrat makes use of his diverse experiences, which he’s collected while working with many European companies and during five years of teaching in Switzerland.

His classes are based on ”floor work” and ”release” techniques and other exercises, which all combine to improve the dancer’s physical strength. The emphasis is on the fluency of movement and mastering the choreographic material. Another important part is practising movement phrases, which are analysed and interpreted in detail. The movement material is constituted by small gestures that enable the dancer to express their emotions while moving.