Accopanying events

Accopanying events of The Choreographic Machine


‘Man as Alpha and Omega’. On Oskar Schlemmer’s Theatre
Prof. Małgorzata Leyko (lecture)
12 September 2015 at 5 p.m. 

Małgorzata Leyko is a professor of theatre theory at the Department of Drama and Theatre of the University of Łódź. She specializes in the history of theatre and history of European theatre doctrines and theories. Her academic work focuses on German language theatre of the 19th and 20th centuries, Jewish theatre in Poland and the development of theatre theories from the beginning of the 19th century. Leyko published Reżyser masowej wyobraźni. Max Reinhardt i jego „teatr dla pięciu tysięcy” (Łódź 2002), Teatr w krainie utopii. Monte Verita, Mathildenhöhe, Hellerau, Goetheanum, Bauhaus (Gdańsk 2012) as well as numerous articles and dissertations. She is one of the editors of the book Teatr żydowski w Polsce (the other being A. Kuligowska-Korzeniewska, Łódź 1998), editor of the collection Łódzkie sceny żydowskie (Łódź 2000), and co-editor of several anthologies published in Poland and Germany. German translations of academic texts are an important part of Leyko’s work, including (the first in Poland) students’ course book Introduction to Theatre Studies by Christopher Balme (with W. Dudzik, Warszawa 2003, 2nd edition, 2005). She is the author of translations and commentaries to subsequent volumes of the Gdańsk series Theatroteka: O scenie przyszłości by Georg Fuchs (2005), O teatrze i aktorze by Max Reinhardt (2006), O cudowności u Shakespeare’a by Ludwig Tieck (2006) as well as Ekspresjonizm w teatrze niemieckim (in collaboration with W. Dudzik, 2009) and Eksperymentalna scena Bauhausu by Oskar Schlemmer (2010). Head of a research grant of the National Programme for the Development of Humanities (Słownik tańca XX i XXI wieku). Member of the Committee on Cultural Studies of the Polish Academy of Sciences and the Committee on Art Studies of the Polish Academy of Sciences. Member of academic associations including: The Polish Association of Theatre Historians, The Polish Association of Cultural Studies and Gesellschaft für Theaterwissenschaft (Germany).


Oskar SCHLEMMER (1888-1943)
A German painter, sculptor and theatre artist, in the years 1921–1929 associated with the Bauhaus school of art and crafts in Weimar and Dessau. Schlemmer spent the years 1929–1933 as a lecturer in Breslau and Berlin, and later — due to the pressure from the Nazis — withdrew from social life. Both in his theoretical texts and throughout his artistic practice Schlemmer proclaimed interdisciplinary dialogue between arts, and theatre became the best laboratory for this purpose. As teacher of Bauhaus, besides  workshops in sculpture and painting, in 1923 Schlemmer introduced a theatre workshop with main areas of focus determined by the notions of ‘man’ and ‘space’. Schlemmer’s best known theatre work The Triadic Ballet was first performed in 1922 in Stuttgart. Although this composition is most strongly associated with the Bauhaus, its idea was conceived long before. It is an arrangement of twelve dances presented in a sequence which depended on the character of costumes dancers were wearing (several reconstructions of The Triadic Ballet were staged in the second half of the 20th century).

The Bauhaus students of Schlemmer’s theatre workshop attempted a series of experiments with the mechanics of stage events (Mechanical Ballet, Human + Machine and Circus). Schlemmer himself worked in Weimar on the productions The Figural Cabinet (1922) and Meta or the Pantomime of Places (1924), and in the years 1926–1927 in Dessau on a series of etudes playing with form and space (such as: Space Dance, Form Dance, Gesture Dance). Parallelly to his work at the Bauhaus, Schlemmer stayed close to professional theatres working on stage and costume design for seventeen performances in the years 1921–1930. Schlemmer’s theatre research is documented by his aesthetic texts on theatre (see Polish edition: O. Schlemmer, Eksperymentalna scena Bauhausu, Gdańsk 2010).



Dance-atelier around the creation Chipping by Anna Konjetzky and Sahra Huby (workshops)
13 September 2015 from 10 a.m. to 1 p.m.  

After a training we will take the piece Chipping as a starting point in order to explore some movement qualities we worked with, but also some working method how we approached this project and we will have a look on the link between body and space.

*Workshops are free of charge, however pre-registration is necessary. Please send filled form the  to Please read the terms and conditions first.



Laboratisation of the World
Samuel Nowak PhD (lecture)
27 September 2015 at 5 p.m.

Inspired by research in the field of ethnography of laboratory we will focus on the role of technology and innovation in the creation of the world. We will be interested in lab processes of changing scales and translation which allow the results of researchers’ work not only to reach our homes but mainly change the world into a great laboratory. But what does go on in the labs? How do the solutions worked out there leave the sterile premises of research campuses? What do housewives, anthrax and speed bumps have in common?


Post-humanist Ethics
Samuel Nowak PhD (lecture)
3 October 2015 at 5 p.m.

Is a post-anthropocentric ethic possible and if so what would it be? Who would be included and what would ethical commitment entail? Can bacteria, black holes and chairs constitute a topic of ethical reflection? First, we will take a closer look at those philosophical works which extended ethical thinking beyond humanity. Next, by reaching to latest posthumanist discourses, studies on technology and information theory, we will attempt to reconstruct ethical parameters without humans.


Samuel NOWAK
PhD, culture and media expert, lecturer at the Jagiellonian University. Samuel Nowak specializes in British cultural studies, media theory and post-humanities. Fellowships, research projects and study visits: Universiteit Antwerpen, King’s College London, New York University, Goldsmiths, University of London. He has written for „Kultura popularna”, „Teksty drugie”, „Przegląd kulturoznawczy” and collective works. Last year his book Seksualny kapitał [Sexual Capital] was published as part of the Horyzonty nowoczesności series. His texts are available at



8 November 2015 at 8.30 p.m.
Panel: Art without a performer? A place and importance of objects, machines and puppets in stage practice (Anna Królica, Katarzyna Lemańska, Katarzyna Słoboda, Iza Szostak, Mateusz Szymanówka, Karolina Wycisk)

Starting with stage practices of Tadeusz Kantor and Oskar Schlemmer (and his fascination with costumes made with various materials which significantly modified actors’ bodies so that they resembled puppets or machines) we would like to attempt a discussion on the place of objects, puppets and machines in today’s choreographic practice. Are contemporary choreographers interested in Schlemmer’s intuition and research? How can we still benefit from the archives of Schlemmer’s and Kantor’s ideas?


Katarzyna SŁOBODA
A curator and editor. Katarzyna Słoboda works at the Department of Modern Art at the Museum of Art in Łódź. PhD student at the Institute of Art of the Polish Academy of Sciences in Warsaw. Co-curator of such exhibitions as: Oczy szukają głowy do zamieszkania (2011), Ćwiczenia z (re)produkcji (2013) or Przyjdźcie, pokażemy Wam, co robimy. O improwizacji tańca (2013). Co-editor of the following texts: Robert Morris. Uwagi o rzeźbie. Teksty (2010) and Przyjdźcie, pokażemy Wam, co robimy. O improwizacji tańca (2013).  

A culture expert, playwright and curator. Mateusz Szymanówka studied culture studies at the University of Warsaw and dance studies at the Freie Universität in Berlin. He collaborates with the young generation of choreographers as playwright and researcher. He also writes about choreography and contemporary dance.  Szymanówka curates the programme Choreografia myśli [Choreography of Thoughts] which was presented at the Wojciech Bogusławski Theatre in Kalisz in the spring of 2015.

A critic, theorist and curator of dance projects. Anna Królica graduated from theatre studies and Russian philology of the Jagiellonian University. She is currently working on her PhD dissertation dedicated to memory and body in Tadeusz Kantor’s Theatre of Death and Pina Bausch’s Tanztheater Wuppertal at the Department of Performance/Jagiellonian University. Author of the book Sztuka do odkrycia. Szkice o polskim tańcu [An Art to DiscoverEssays on Polish Dance] (Tarnów, 2011) and a series of interviews with young Polish choreographers published by Cricoteka: Pokolenie Solo (Kraków, 2013). Member of the Artistic Board of the Polish Dance Platform in the years 2008 and 2012, and in the years 2011–2013 chairman of the first Programme Board for Dance at the Institute of Music and Dance. In 2012 Królica was awarded an artistic scholarship of the Polish Ministry of Culture and National Heritage. She currently works on the following curator programmes: Choreographic Machine at the Cricoteka in Kraków and Z perspektywy żaby at the „Zamek” Cultural Centre in Poznań (previously collaborated with the „Zamek” Cultural Centre as curator of the Archiwum ciała project). As curator Królica also collaborates with the Kalejdoskop Festival in Białystok


Karolina WYCISK
PhD student at the Jagiellonian University, editor. Karolina Wycisk has written for „Didaskalia” and the portal TaniecPolska.PL. Editor-in-chief of the „Teatralia” online magazine, co-manager of the Performat Foundation. Karolina Wycisk is interested in drama, contemporary dance and performance. She lives in Lower Silesia where she works on a project on identity of places founded with a scholarship awarded by the Polish Ministry of Culture and National Heritage.


Katarzyna LEMAŃSKA
An editor and theatre reviewer. Katarzyna Lemańska graduated from the departments of theatre studies and editing of the Jagiellonian University. She is a permanent collaborator of the „Didaskalia” theatre magazine, editor-in-chief of the „Teatralia” online magazine, co-founder of the Performat Foundation. In her professional work Lemańska combines her passion for theatre with text editing.


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