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.”


In this workshop we will dance the present moment and its poly directionality, continuously dealing with weight, direction and gravity, finding a mobile, strong and fragile organization of the body. We will explore the here and now with a fully engaged state of mobility, sensing the act of being in a body that allows movement to happen as we observe how it is doing it, entering a continuous state of Improvisation opening new ways of communication and relationship with others from a conscious 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.

THE STRING OF THE BODY® – Jakub Gontarski i  Agnieszka Rybak 

Martial arts
Rituals, martial arts and dance have been a part of human life and history since the dawn of time. The process of observation of, adaptation to and communication with nature and multiple phenomena in our surroundings have always determined our anatomy, psycho-physical functions and our unconsciousness and consciousness. Gradually, unpredictable natural processes and human interrelationships started to determine specific behaviours and interactions in the processes of symbiosis and correlation.
We will confront what is known and constituted in us with what is not understood . This is the workshop of conscious crossing of own borders on the physical level , condistion , personality , character and psyche.
Actions and inspiration
● Training tools and practice developed as part of the Body Constitution programme of the Grotowski Institute (body training – training of the voice at the source of martial arts)
● Several years of training and practice of the Japanese martial art of Judo and the Afro-Brazilian martial art Capoeira, elements of Brazilian Jiu-Jitsu and Boxing training
● Elements of stunt training such as Krav Maga, jumps, falls, shock absorption, fighting choreographies
● Contact improvisation, Partnering
● Elements of functional training
● Movement Composition – at the source of martial arts
The String of the Body means:
● sessions aimed at deepening the practice of the essence of form and technique
● mobility and statics
● balance, imbalance, maintaining one’s balance
● strength and gentleness
● confidence and lack of confidence
● boundaries and boundary-crossing
● energy potential
● expressive potential
● fatigue and relaxation
Confrontation, reaction, decision making, risk, game, strategy, responsibility, presence, security, expression, inspiration and creativity. Training and practice in themselves define and redefine what has been acquired and what is being acquired.
Each session will start with body preparation and warm up for physical work. The workshop is intended for dancers, actors, performers and all others interested in movement and intense physical activities.
Participants will be briefed on the essentials and assumptions of the programme which will involve further stages of work.
IMPORTANT NOTE: Please wear a durable training outfit – long bottoms and long-sleeved top
Jakub Gontarski collaborates with the Grotowski Institute as the leader of the Two Paths Studio, which operates as part of the BodyConstitution research programme. He Initiated a program String Body Initiated the programme of action of the String body in which the directions of work are expression, presence, dramaturgy, creativity at the martial arts in the path of the Warrior-Performer. Travels to Brazil taking a living inspiration by documenting and taking an active part in the rituals of Candomble. Co-creator of the productions Animan – I Am That and Madhouse and many others. He performs movement improvisations on stage to live music. Jakub is a graduate of the 13 Film Stunt School in Wrocław. He is a co-organizer of the CYRKULACJE Festival in Wrocław and Planet Kids. President of the Momentum Association of Creative Initiatives. Project. He practiced the Japanese martial art of judo and the Brazilian martial art of capoeira (in Brazil and in many European countries). He studied with eminented teachers movement in Poland and all over the world. Jakub inspires in brazilian jiu-jitsu, boxing, sport, movement body mechanics. He worked for the Krzyżowa Foundation for Mutual Understanding in Europe leading numerous workshops, choreography and performances with international youth.He leads workshops with socially excluded youth in Wrocław, including as part of the project Thought in Motion, undertaken by the Institute of Music and Dance. He taught movement classes at Ente private kindergarten (European Cooperation Centre). He plays Afro-Brazilian instruments. The author of the collection of poems “death and rebirth”.
Agnieszka Rybak teaches, moves and performs. She is a collaborator of the Two Paths Studio. She has experience in the martial art of Capoeira, which she practised, among other places, in Brazil in 2008. She holds a scholarship of the Alternative Dance Academy in Poznań. She graduated from the Academy of New Dance and Improvisation and completed a number of instructor courses in the fields of therapy, dance and movement. She practises and improves her skills both in Poland and abroad. She is a practitioner and teacher of the Hawaiian bodywork method Kino Mana and a practitioner of Thai Yoga Massage Sacred Dance of the Sunshine House School in Chiang Mai and of the Life Impression Bodywork method. She is a member of ECITE (European Contact Improvisation Teachers Exchange) as well as a co-creator of Wrocław’s contact improvisation milieu and of the Cyrkulacje festival (


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.

Partners of the Festival Circulations 2016