A Hungarian film and theatre director, scriptwriter, film producer and actor. A graduate of the Faculty of Acting at the Budapest Academy of Film and Drama and subsequently the Faculty of Drama, Film, and TV Directing. Known primarily as film director whose works are successfully presented at numerous international festivals. He won the Silver Leopard at Locarno for directing Pleasant Days (2002) and the FIPRESCI Award in Cannes for Delta (2008). „His A Tender Son – The Frankenstein project (2010) was screened at the main competition of the Cannes Festival, and White God (2014) won the prestigious Un Certain Regard Prize at the Cannes Film Festival. In 2009 he started the independent Proton Theatre with Dóra Büki. His most famous productions include the adaptations of Vladimir Sorokin’s The Ice, J.M. Coetzee’s Disgrace and his auteur work: Hard to be a God. Directing Nietoperz / The Bat at the TR Warszawa won him the Guarantee of Culture Award 2013. Mundruczó works on Hungarian, German (the Thalia Theater), and Austrian (Wiener Festwochen) stages.
A graduate of the Faculty of Graphic Arts at the Academy of Fine Arts in Kraków, and the Faculty of Drama Directing at the PWST Academy of Theatre Arts in Kraków. Awarded a scholarship by the Rolex Mentor and Protégé Arts Initiative for the most talented artists from around the world. His first production, Małgorzata Owsiany’s KOMPOnenty, premiered in 2004 during the baz@rt Intermedia Theatre Forum. Two years later he made his Warsaw début with Georg Büchner’s Leonce and Lena at the Dramatyczny Theatre. In the same year Borczuch was the first to stage an uncensored version of Frank Wedekind’s Lulu at the National Stary Theatre. In 2009, his version of The Portrait of Dorian Gray based on Oscar Wilde’s novel was performed at the TR Warszawa. In the same year he directed Werter, based on Goethe’s novel, at the National Stary Theatre in Kraków. Borczuch cooperates with the Polski Theatre in Wrocław, where he staged Hans, Dora i Wilk / Hans, Dora, and a Wolf inspired by Freud, and Zachodnie wybrzeże. Powrót na pustynię / Quay West. Return to the Desert based on Bernard-Marie Koltès. He has also directed abroad namely at the Schauspielhaus in Düsseldorf (Wojna nie ma w sobie nic z kobiety / The Unwomanly Face of War) and at the Slovensko mladinsko gledalisce in Ljubljana (Dramaty księżniczek / Princess Dramas). Borczuch was twice nominated for the Passport Award of the Polityka weekly. His Apokalipsa / The Apocalypse premiered in September 2014 at the Nowy Theatre in Warsaw and won him the Grand Prix of the Boska Komedia / Divine Comedy Festival. A year later his production with the Łaźnia Nowa Theatre, Wszystko o mojej matce / All About My Mother, won him his second Grand Prix of the Festival. In the same year he produced Czekając na Godota / Waiting for Godot at the Stefana Jaracza Theatre in Łódź, and a year later Zew Cthulhu / Call of Cthulhu at the Nowy Theatre in Warsaw and Moja walka / My Struggle at the TR Warszawa.
A graduate of Faculty of Acting and Drama Directing at the Academy of Theatre Arts in Warsaw. Her first independent productions were Arlekinada on the stage of Jan Kochanowski Theatre in Opole and Prosper Merimée’s Niebo-Piekło / Heaven and Hell at the Stary Theatre in Kraków. Glińska’s choice of repertoire shows her special penchant for contemporary dramatic texts. As a director, she yields to no theatrical fads, and prefers working with the actor over sophisticated staging concepts. In 2012 Glińska became the artistic director of the Studio Theatre in Warsaw. She won the 2012 Co Jest Grane / Wdecha Prize in the category Person of the Year for her “promising new productions and full houses”. At the Studio Theatre she directed Sąd Ostateczny / The Last Judgement, Dwoje biednych Rumunów mówiących po polsku / A Couple of Poor, Polish-Speaking Romanians, Wiśniowy sad / The Cherry Orchard, Jak zostałam wiedźmą / How I Became a Witch, and Efekt / Effect. In the meantime she also directed at the Academy of Theatre Arts in Kraków, the Capitol Music Theatre, and The Juliusz Słowacki Theatre in Kraków.
Theatre director, playwright, librettist, composer of music for his own productions. Artistic director of the TR Warszawa (former Rozmaitości Theatre) from 1998, and also its managing director from 2006. He studied philosophy at the Jagiellonian University and direction at the PWST Academy of Theatre Arts in Kraków. His productions are invited to numerous festivals and guest appearances in Europe and in the world, including Avignon, Edinburgh, Moscow, Berlin, Vienna, Stockholm, London, Jerusalem, Toronto, Wellington, Los Angeles, and New York. At the TR Warszawa, he directed the famous Bzik Teatralny / The Tropical Craze (1997), Magnetyzm serca / Magnetism of the Heart (1999), Książę Myszkin / Prince Myszkin (2000), Uroczystość / Festen (2001), Psychosis 4.48 (2002), and 2007: Macbeth (2005). His subsequent Warsaw productions were T.E.O.R.E.M.A.T. based on the works of Pier Paolo Pasolini (2009), Dorota Masłowska’s Między nami dobrze jest / No Matter How Hard we Tried, which premiered at the Schaubühne am Lehniner Platz in Berlin (2009), Druga kobieta / Other Woman (2014), Męczennicy / Martyrs (2015), and G.E.N. (2017). Jarzyna has also directed abroad: in 2010 he directed Areteia as part of the Europe Odyssey projectand Jean Racine’s Phèdre at Amsterdam’s Toneelgroep Theatre, a year later came Dziecko i czary/Karzeł / The child and the Spells/The Dwarf at the Staatsoper Munich, and in 2016 Iwona, księżniczka Burgunda / Yvonne, Princess of Burgundy at the State Theatre of Nations in Moscow.
Theatre director. A graduate of Theatre Studies at the Jagiellonian University and of the Faculty of Drama Directing at the PWST in Kraków. She made her début with Kisielewski’s Karykatury / Caricatures at the Wilam Horzyca Theatre in Toruń in 1996. In 1996–2012 she worked with theatres in Opole, Łódź, Kalisz, Bydgoszcz, Poznań, Wrocław, Warsaw, and Kraków. In 2006–12 she was artistic director of the Wilam Horzyca Theatre in Toruń and programme consultant for the Kontakt International Theatre Festival. Winner of numerous theatre festivals, including the Interpretations Festival of the Art of Theatre Direction in Katowice (2000), Kontrapunkt Festival in Szczecin (2003 and 2005), Premiere Festival in Bydgoszcz (2004), and Contemporary Drama Festival in Zabrze (2004 and 2007). In 2008 she was awarded the Laur Konrada and the Audience Award at the Interpretations Festival in Katowice for Hanoch Levin’s Pakujemy manatki / Suitcase Packers. The dramas she put to the stage of the Juliusz Słowacki Theatre in Kraków in 2009–15 were also repeatedly awarded. Ingmar Bergman’s Rozmowy poufne / Private Confessions won the Journalists’ Award at the Kontakt International Theatre Festival in 2009, Hanoch Levin’s Udręka życia / The Labour of Life – the prize for the best director at the Faces of the Theatre Competition, and Peter Asmussen’s Za chwilę / Now – the Wyspiański Prize for the best theatrical event in Kraków in 2012. Her Bergman’s Rytuał / Ritual was presented at the Warsaw Theatre Meetings in 2016. In 2012–16, Kempa was the artistic manager of the Małopolska Garden of Arts (MOS) in Kraków, where she initiated a range of interdisciplinary projects, including the KRoki International Festival of Contemporary Dance (with Katarzyna Bester). Murzyni we Florencji, a play based on Vedrana Rudan’s novel Blackmen in Florence won her another Wyspiański Prize for the best theatrical event in non-institutional theatre in Kraków in 2017. Her latest premiere – Miłość od ostatniego wejrzenia at Warsaw’s Dramatyczny Theatre is adaptation of another Rudan’s novel, Love at Last Sight. Since 2013 she has lectured at the AST in Kraków, and has been Dean of its Faculty of Drama Directing since 2016.
Photo Kasia Chmura
Studied drama directing first in Warsaw and then at the PWST in Kraków. Worked as an assistant to Jerzy Grzegorzewski, Jerzy Jarocki, and Krystian Lupa. On graduation he worked as a copywriter, music journalist, and director of a TV talk show. His first professional production was Nikolai Gogol’s Rewizor / The Inspector General for the Jerzy Szaniawski Dramatic Theatre in Wałbrzych (2003). A month later Klata staged his own drama, Uśmiech grejpruta / Grejprut's Smile, at the Polski Theatre in Wrocław In 2004 his H. wg HamletaWilliama Shakespeare’a / H after William Shakespeare's Hamlet for the Wybrzeże Theatre had its high profile premiere at the Gdańsk Shipyard. From that time, the director has constantly worked with Poland’s most interesting stages, including the TR Warszawa, National Stary Theatre in Kraków, Polski Theatre in Wrocław, and Polski Theatre in Bydgoszcz. In 2006 he won the Passport Award of the Polityka weekly in the Theatre category for his innovative reading of the classics, and for his passion and tenacity in examining national myths and diagnosing the Polish reality. Sprawa Dantona/ The Danton Case (Polski Theatre in Wrocław, 2008) won Klata not only general acclaim but also the Konrad Swinarski Prize, the Laur Konrada at the Interpretations Festival in Katowice, and the Best Director Prize at the Boska Komedia / Divine Comedy Festival in 2008. In 2009 he was commissioned by the Dialogue of Four Cultures Festival with a contemporary version of Ziemia obiecana / The Promised Land based on Władysław Reymont. In 2013–17 Klata was the director of the National Stary Theatre in Kraków, where he directed Trzy stygmaty Palmera Eldritcha / The Three Stigmata of Palmer Eldritch (2006), Oresteia (2007), Trylogy based on Henryk Sienkiewicz (2009), Wesele hrabiego Orgaza / The Wedding of Count Orgaz (2010), Do Damaszku / To Damascus (2013), Król Ubu / Ubu Roi (2014), King Lear (2014), Wróg ludu / Enemy of the People (2015), and Wesele / The Wedding (2017).
Actor, theatre director, scriptwriter. Since his début Jak zjadłem psa / How I Ate the Dog at the Helena Modrzejewska Theatre in Legnica, Siegoczyński has directed over twenty plays, including Dom lalki / Doll’s House (the Nowy Theatre in Poznań, 2012), Casablanca (the Powszechny Theatre in Warsaw, 2011), Kali Babki (the Baltic Drama Theatre in Koszalin, 2014), Elvis (the Tadeusz Łomnicki Nowy Theatre, Poznań 2016), Hollywood (WARSawy Theatre, 2017), Beksińscy / Beksińskis (the Polski Theatre in Bydgoszcz, 2017), lovebook (the Powszechny Theatre in Łódź, 2018). He has worked with numerous Polish stages, including the Ester Rachel Kamińska Jewish Theatre in Warsaw, the Wojciech Bogusławski Theatre in Kalisz, the Konsekwentny Theatre in Warsaw, the Jan Kochanowski Powszechny Theatre in Radom, the IMKA Theatre in Warsaw, and the Teatr Nowy Praga in Warsaw.
Polish-French theatre director and translator. a graduate of Literature Studies at Sorbonne in Paris. In 2001 she founded La compagnie Gochka in Paris to stage a handful of productions, notably Rainer Werner Fassbinder’s Gorzkie łzy Petry Von Kant / The Bitter Tears of Petra von Kant, Pierre Marivaux’s Wyspa niewolników / Slave Island and Armanda Llamas’s Sextuor Banquet. She has worked in Poland since 2005 and directed Paul Claudel’s Zamiana / Swap at the Śląski Theatre, Jarosław Abramow-Newerly’s Maestro at the Drama Laboratory in Warsaw, Joël Pommerat’s Jedną ręką / With Only One Hand at the Studio Theatre, Pani z Birmy / The Lady of Burma at the Polonia Theatre, Albert Camus’s Obcy / The Stranger at the Juliusz Słowacki Theatre in Kraków, Wariatka z Chaillot / Madwoman of Chaillot at the Aleksandra Węgierka Theatre in Białystok. She directed Aktorzy prowincjonalni / Provincial Actors and Bullerbyn at the Jan Kochanowski Theatre in Opole, Enter and Pinokio / Pinocchio at the Nowy Theatre in Warsaw, Dybuk / The Dybbuk at the Polski Theatre in Bydgoszcz, and Kopciuszek / Cinderella at the Stary Theatre in Kraków. She translated Grażyna Jagielska’s book Miłość z kamienia / Love of Stone into French.
Director, teacher, founder of the Theatre 21, Poland’s only theatre troupe whose members suffer from Down’s syndrome and autism. A graduate in Special Education the Nicolaus Copernicus University of Toruń, Theatre Studies at the Academy of Theatre Arts in Warsaw, and Theatre Education at the Universität der Künste in Berlin. She is actively involved in theatre education at the Z. Raszewski Theatre Institute in Warsaw and at the University of Warsaw. Since 2005 she has led Theatre 21 which performs in Poland and abroad. She has also directed for the Polski Theatre in Poznań (Ojczyzna / Fatherland), the Nowy Theatre in Warsaw (Indianie / The Indians) and the National Stary Theatre (Szewcy / The Shoemakers). Awarded the Konstanty Puzyna Kamyk Prize.
Director, manager of culture, originator of a plethora of cultural projects. Szydłowski conceived and founded the Boska Komedia / Divine Comedy International Theatre Festival which, under his lead, has evolved into the most important event in world of Polish theatre. Together with his wife, Małgorzata Szydłowska, Szydłowski founded Łaźnia Nowa in 2004, creating a theatre that uniquely combines a commitment to the local community with an ambitious artistic programme. A few years earlier the couple incorporated the Łaźnia Theatre Association, one of the key independent locations in 1990s Kraków. Szydłowski has developed his unique style of working with both actors and amateurs and all his projects are deeply rooted in the social context. He has directed Tankred Dorst’s Pan Paweł / Herr Paul (1999), Sławomir Mrożek’s Zabawa / The Party (2000), Sarah Kane’s Miłość Fedry / Phaedra’s Love (2001), Dea Loher’s Tatuaż / The Tattoo (2002), Paweł Jurek’s Wścieklizna Show, albo Fajni Ludzie / The Rabies Show, or Cool People and Pokolenie porno / Porn Generation (both 2003), Edyp – tragedia sentymentalna z Nową Hutą w tle / Oedipus. A Sentimental Tragedy with Nowa Huta in the Background // Edyp – tragedia nowohucka / Oedipus. A Nowa Huta Tragedy (2006), Krwawe wesele, czyli muzyczną opowieść o cygańskim sercu / A Bloody Wedding, or a Musical Story About a Gypsy Heart based on a drama by Garcia Lorca (2007), Moralność Pani Dulskiej, czyli w poszukiwaniu zagubionego czakramu / The Morality of Mrs Dulska, or in Search of the Lost Chakra (2009), Fakir // Fakir, czyli optymizm / Fakir, or Optimism (2011), Wejście smoka. Trailer / Enter the Dragon. Trailer (2011), Antyzwiastowanie / Anti-Annunciation (2012), Klub miłośników filmu Misja / The Mission Fan Club (2013), Przypadek według Krzysztofa Kieślowskiego / Blind Chance according to Krzysztof Kieślowski (2016), Konformista 2029 / Conformist 2029 inspired by a novel of Alberto Moravia, and Wałęsa in Kolonos (2018). He is connected to the Juliusz Słowacki Theatre in Kraków and is responsible for its artistic programme. His achievements have won Szydłowski the Gloria Artis Silver Medal for Merit to Culture from the Minister of Culture.
A graduate of the Faculty of Drama Directing at the PWST in Kraków and of Theatre Sciences at the Academy of Theatre Arts in Warsaw. She directed plays at the Polski Theatre in Bielsko-Biała (Sferia), the Współczesny Theatre in Wrocław (Tajemniczy ogród / The Secret Garden, Jak to dobrze, że mamy pod dostatkiem / So Good to Have Enough), the Polski Theatre in Bydgoszcz (Swarka / Сварка, Bóg w dom / God in the House), and in the Baltic Dramatic Theatre in Koszalin (Pożar Reichstagu / Reichstag on Fire).
A graduate of the PWST in Kraków, Świątek made his début at the National Stary Theatre with the greatly acclaimed Paw Królowej / The Queen’s Spew. Seven years later he returned in Wojna polsko-ruska / Snow White and Russian Red, a dazzling adaptation of Masłowska’s prose that he directed for the Juliusz Słowacki Theatre/Małopolska Garden of Arts. In the meantime he has directed on numerous Polish stages, including the Polski Theatre in Wrocław (Mitologie / Mythologies), Jan Kochanowski Theatre in Opole (Komedia. Szczęśliwe dni. Ostatnia taśma Krappa / Comedy. Happy Days. Krapp’s Last Tape, Dżuma / The Plague, Rękopis znaleziony w Saragossie / The Manuscript Found in Saragossa, and Sen nocy letniej / A Midsummer Night’s Dream), the Jerzy Szaniawski Dramatic Theatre in Wałbrzych (Znikające szkoły / Disappearing Schools and Po nas choćby kosmos / After us, the Cosmos), and in the Stefan Jaracz Theatre in Łódź (Książe niezłomny / Constant Prince).
Theatre and film director, scriptwriter, graphic artist, TV and video clip producer. A graduate from the Faculty of Directing at the Łódź Film School. In 2006 he was awarded a professorship in film arts. Grzegorzek has directed primarily at the Stefan Jaracz Theatre in Łódź where, since the premiere of Jad / Venom in 1994, he has produced several plays most notably Agnes od Boga / Agnes of God, Szklana menażeria / The Glass Menagerie, Żałoba przystoi Elektrze / Mourning Becomes Electra, Między jawą a snem / Between Sleep and Wakefulness, Blask życia / The Glory of Living, Habitat, Macbeth, Dybuk / The Dybbuk, Słowo / The Word, Posprzątane / So Done, and Czarownice z Salem / The Witches of Salem. He has also directed in Warsaw – Simpatico and Zdaniem Amy / Amy’s View (Zygmunt Hübner Powszechny Theatre), Na wsi / The Country (Studio Theatre) – and in Kraków: Woyzeck (National Stary Theatre). He has produced performances for the Polish TV Theatre. His film début was Rozmowa z człowiekiem z szafy / Conversation with a Cupboard Man (1993). His recent cinema works include Jestem Twój / I am Yours (2009) and a full feature diploma film by Students of the Łódź Film School Śpiewający obrusik / The Singing Napkin (2015). A member of the Polish Film Academy, artistic director of the Indeks Film Studia, and a longtime expert of the Polish Film Institute. Since 2012, Rector of the Łódź Film School.
Graduated from the Karol Szymanowski Higher School of Music in Toruń in the cello class of 2010, performed with the Toruń Symphony Orchestra, and studied first the cello and then composition at the I.J. Paderewski Academy of Music in Poznań (diploma in 2016) in parallel with Philosophy at the Adam Mickiewicz University in Poznań. Between 2010–2017 his compositions were regularly performed at national and academic concerts. Currently a 4th-year student of Drama Directing at the AST Academy of Theatre Arts in Kraków, he is working on doctoral dissertation on “Creation of a vision of the world as a challenge for speculative realism philosophy and non-philosophy”, which is devoted to his interpretation of the main foundations of so-called speculative reality from the perspective of constructivist achievements. Prize winner in the 2019 edition of the Młodzi w Starym Competition organised by the National Stary Theatre in Kraków which resulted in the production of his premiere work Aktualny Stan Świata / Current State of the World. He is presently working on the music and script for his full-feature drama with a working title of Tonąca dziewczyna / The Drowning Girl on the Kameralna Stage of the National Stary Theatre.
A student of Drama Directing at the Academy of Theatre Arts in Warsaw, a graduate of journalism and social communication at the University of Wrocław and Cultural Studies at the University of Warsaw, holder of a scholarship to the CEU Cardenal Herrera University in Valencia. A project funded by the Platform European Theatre Academy allowed her to co-create the production of Poor/Rich Europe which was shown on the stage of Salzburg’s Mozarteum and Hamburg’s Thalia Theaters. During her Rucka Artistic Residency (Latvia), together with Pamela Leończyk, she directed Rite of Purification. Opportunity, prepared as part of the New Theatre Laboratory at the Nowy teatr Proxima in Kraków, is Koszulińska’s theatrical début.
Radosław B. Maciąg
A student of the Faculty of Drama Directing at the AST Academy of Theatre Arts in Kraków, he directed the AST productions of Końcówka / The Last Stretch (which qualified for the 5th Young Directors Forum Festival, 2015), Najżałośniejsza Tragedia Tytusa Andronikusa / The Most Lamentable Romaine Tragedy of Titus Andronicus (presented at Gdańsk Festival’s SzekspirOff, 2017), monodrama On / Him (ZAiKS Prize, shown at the Studio Theatre during Lublin Theatre Confrontations and at the Interpretations Festival of the Art of Theatre Direction in 2018). He has also produced a drama-installation Rok 1984/2081 / 1984/2081 based on George Orwell (Osterwa Theatre in Lublin, 2018), a performative reading of Paweł Wolak and Katarzyna Dworak’s Wierna Wataha / Faithful Pack (Municipal Theatre in Gdynia, 2018), B. Fournier’s Błagające / Sur un pont par grand vent (Sopot Literary Festival, 2018), My first dolIy as part of the Sopot Non Fiction Festival artistic residence (a coproduction of the Wybrzeże Theatre in Gdańsk and TR Warszawa, 2018). He has also directed Łaknąć / To Covet (Studio Theatre in Warsaw, 2018), Niech żyje Polska / sztuka prawicowa / Long Live Poland (National Stary Theatre in Kraków, 2019), and a documentary drama Gloria Victis (Local Activity Centre in Pionki, 2019). Assistant to Iwona Kempa on Rytuał / Ritual and to Remigiusz Brzyk on Kariera Artura Ui / The Resistible Rise of Arturo Ui (both at the Juliusz Słowacki Theatre in Kraków), and to Jan Peszek (Szkice z Szekspira / Shakespeare Sketches, AST in Kraków). As a director, he participated in Nowe Epifanie / New Epiphanies artistic residence (Dramatyczny Theatre in Warsaw, 2019), and as a performer – in Der Auftrag international theatre project (Bildungsstätte Bredbeck, 2019). A founder of the amateur theatre operating by the ZSB in Radom, founder of the youth theatre group at the Culture Centre in Pionki and of Post Artem informal theatre group promoting the development of independent arts and the actor troupe of the same name.
A 3rd-year student of Faculty of Drama Directing at the AST Academy of Theatre Arts in Kraków, graduate in Theatre Studies from the Academy of Theatre Arts in Warsaw, and post-graduate student of both Gender Studies at the University of Warsaw and of Performance and Performativity Studies at the Jagiellonian University. In the 2018/19 season she won the Młodzi w Starym Competition for novice directors organised by the National Stary Theatre the result of which was being awarded the production of Czartoryska. Artefakty / Czartoryska. The Artefacts. Director of concerts and radio dramas, and animator of children’s groups. She has worked on the dramaturgy for Piotr Ratajczak’s dramas (Ostatni dzwonek. Utopia / Last Bell. Utopia for AST Kraków, (2019) and for Julia Mark’s Ich czworo. Reality Show / Four of Them. Reality Show for the Municipal Theatre in Gliwice, (2017). Assistant to Wiktor Rubin on Vernon Subutex at the Juliusz Słowacki Theatre in Kraków (2018) and on the Europejski Poeta Wolności / European Poet of Freedom Gala for the Gdańsk Shakespeare Theatre (2018).
Choreographer and performer who uses the tools of experimental dance, performing arts, drama, and theatre in her work, Renata Piotrowska-Auffret brings together choreography and conceptual thinking. She is keen on historical and contemporary representations and the politics of the body as well as the links between text and movement. A holder of a scholarship from the Ministry of Culture and National Heritage in 2013 and the Young Poland Programme (2010), she was a priority artist of the Aerowaves (2017) and has held successive scholarships from the Adam Mickiewicz Institute and the Art Stations Foundation. She has directed Teraz / Now and Tańcząc z wrogiem / Dancing with the Enemy (both in 2007), the Unknown series (2008–10), Break Sztuka Wojny / Break. Art of War (2010) and UNKNOWNS.SEANS (2011) as well as a dance film Inside (2011), The Forest_work in progress (2013), Śmierć. Ćwiczenia i wariacje / Death. Exercises and Variations (2014), Wspólne / Shared (2016), and Wycieka ze mnie samo złoto / Pure Gold is Seeping out of Me (2017). In 2008, 2010, and 2017 her plays were selected for the prestigious Polish Platform of Dance Competition. A graduate of the Academy of Theatre Arts and the ex.e.r.ce Research and Choreography programme at CCN Montpellier in France, she belongs to the Centrum w Ruchu choreographer collective in Warsaw.
Director and scriptwriter. A graduate of the Faculty of Drama Directing at the AST in Kraków, he also studied at the Faculty of Literature and Philosophy and at the Scuola Internazionale di Teatro in Milan. A graduate of European Course in Opera Directing, as part of an EU programme he participated in Krystian Lupa’s directing laboratory at the Dramatyczny Theatre in Warsaw. He made his début in 2008 with Tadeusz Różewicz’s Śmieszny staruszek / The Funny Old Man at the Ludowy Theatre in Kraków. A year later he took Exhibition (based on James Ballard’s novel Crash) to the stage of the Dramatyczny Theatre in Warsaw. Since then he has worked a number of institutions including the Nowy Theatre in Kraków (Koniec półświni / The End of a Half-Pig), the Polonia Theatre in Warsaw (Jekyll/Hyde, czyli partytura dla jednego człowieka zmierzająca ku dobru / Jekyll/Hyde, or a Score for One Human Leading to Good) and the Nowy Theatre in Łódź (Krople wody na rozpalone kamienie / Drops of Water onto Hot Stones). Since 2014 he has held the post of the artistic director of the Ludwik Solski Theatre in Tarnów, where he produced Reprodukcja / Reproduction (2014) and Z ziemi włoskiej do Polski / From Italy to Poland (2016) based on Marcin Cecko’s dramas.
Director, writer, and creator of performative installations. A graduate of the Faculty of Drama Directing at the AST Academy of Theatre Arts in Kraków and Polish Philology at the University of Wrocław, he also studied under a scholarship at the Charles University of Prague. In 2016 he made his début with Cynkowi chłopcy / Boys in Zinc at the Jerzy Szaniawski Dramatic Theatre in Wałbrzych, before taking it to Poland’s main theatre festivals (notably Boska Komedia / Divine Comedy) where he won awards at the m-Teatr Festival inKoszalin and the Grand Prix for the best début at the First Contact Festival in Toruń. He has worked with the Capitol Music Theatre in Wrocław, Jan Kochanowski Theatre in Opole, the Teatr Zagłębia in Sosnowiec, the Contemporary Theatre in Szczecin, and Theatre 21, where he directed Superspektakl / Superproduction with Justyna Sobczyk as a coproduction with the Powszechny Theatre in Warsaw. His most acclaimed productions are Kordian (the Polski Theatre in Poznań) and Mein Kampf (the Powszechny Theatre in Warsaw) which provided the first opportunity to challenge Adolf Hitler’s book on stage. In 2019 the Dialog monthly published Skrzywanek’s début drama Pogrom alfonsów, Warszawa 1905 / Pogrom of Pimps, Warsaw 1905, which reached the semifinals of the Gdynia Drama Prize. Skrzywanek held a scholarship from the New Theatre Laboratory programme (Nowy Proxima Theatre in Kraków), which allowed him to prepare the drama To my jesteśmy przyszłością! / We are the Future!. He worked as an assistant to Oliver Frljić and Paweł Miśkiewicz, and has prepared numerous performative readings and performances, e.g. at the Malta International Festival in Poznań and the Genius Loci Festival in Kraków.
A graduate of the AST Academy of Theatre Arts in Kraków (2019) and holder of a scholarship from the Ministry of Culture and National Heritage (2018), he was a student of the Inter-faculty Individual Studies in the Humanities at the Jagiellonian University. In 2011–13 he was connected to the Jerzy Grotowski Institute, and in 2013–18 – with Gardzienice Centre for Theatre Practices. He has worked with Krystian Lupa on Spi->ra->la and Proces / The Trial based on Franz Kafka. His début was August Strindberg’s Panna Julia / Miss Julie staged at the Ludowy Theatre in Kraków, which won him the ZAIKS Prize at the Young Directors Forum in 2018. He is also the recipient of the Off Prize at the 22nd Shakespeare Festival in Gdańsk his Hamlet which was based on Shakespeare and his own texts, and the Leon Schiller Prize (2019). He directed Arthur Miller’s Śmierć komiwojażera / Death of a Salesman at the Wybrzeże Theatre in Gdańsk, Kto zabił Kaspara Hausera / Who Killed Kaspar Hauser at the Stefan Jaracz Theatre in Łódź (based on a drama he wrote with Konrad Hetel), and Słowacki umiera / Słowacki is Dying at the National Stary Theatre in Kraków. Since 2019 he has lectured at the Faculty of Drama Directing of the AST National Academy of Theatre Arts in Kraków. Belongs to the Koran collective together with Konrad Hetel and Natan Berkowicz.
Theatre director, author of highly publicised productions that provide an important voice in the discussion of crucial Polish national and social issues. With the dramaturg Paweł Demirski , they are the best known duo in Polish theatre today. Strzępka made her début in 2004 at the Polski Theatre in Bydgoszcz with Z twarzą przy ścianie / With the Face Against the Wall by a young playwright, Anna Bednarska. Her successive productions were produced in Gdańsk, Jelenia Góra and on the Polish Stage in Český Těšín. The first productions by the Strzępka–Demirski duo were Dziady. Ekshumacja / Forefathers’ Eve. Exhumation at the Polski Theatre in Wrocław (2007), a daring attempt to come to terms with Polish national sins, and a play with a significant title Był sobie Polak Polak Polak i diabeł czyli w heroicznych walkach narodu polskiego wszystkie sztachety zostały zużyte / There Was a Pole, Pole, Pole and the Devil, or in the Heroic Battles of Polish Nation All Rails Have Been Used for the Dramatyczny Theatre in Wałbrzych (2007). Strzępka’s style can be described as a political burlesque that offers a grotesque picture of the national myths, complexes and weaknesses that are underlain with bitter irony. Her works play out in the convention of a socially engaged pamphlet with elements of farce, e.g. Śmierć podatnika / Death of a Taxpayer (2007), Diamenty to węgiel, który wziął się do roboty / Diamonds are Coal that Got to Work (2008), and Opera gospodarcza dla ładnych pań i zamożnych panów / Business Opera for Pretty Ladies and Wealthy Gentlemen (2008) offer warped-mirror images of a consumerist, neoliberal society. In turn her Sztuka dla dziecka / A Play for Children (2009), Niech żyje wojna!!! / Long Live the War!!! (2009), Bitwa Warszawska 1920 / The Battle of Warsaw 1920 (2013), and nie-Boska Komedia. Wszystko Powiem Bogu! / Un-Divine Comedy. I Will Tell God Everything! (2014) targeted the hypocritical and mythologised Polish historical memory. In her provocative Był sobie Andrzej Andrzej Andrzej i Andrzej / There was Andrzej Andrzej Andrzej and Andrzej (2010) the director brutally confronted the icons of Polish culture with the demands of the new artists. In turn, her Tęczowa Trybuna 2012 / Rainbow Stand 2012 (2011) tackled the issue of the LGBT minority by alluding to an initiative to set up a sector for gay fans at the Euro 2012 soccer tournament. Her other works include Courtney Love on the realities of Polish showbiz (2012), Firma / The Firm on contemporary business pacts (2012), Bierzcie i jedzcie / Take & Eat on the obsession of heathly eating (2013), W imię Jakuba S. / In the Name of Jakub S. (2011) and the first series on contemporary politics in Polish theatre: Klątwa. Odcinki z czasów beznadziei / The Curse, Episodes from the Time of Hopelessness. Monika Strzępka won the Passport Award of Polityka weekly in 2010 (with Paweł Demirski), and her plays have won numerous awards and honours at theatre festivals including two Grand Prixes at the Boska Komedia / Divine Comedy Festival.
Director, teaches at the Łódź Film School, director of the Ludowy Theatre in Kraków’s Nowa Huta district. She has directed over 40 plays, including Vladimir Zuev’s Osaczeni / Trapped, Ingmar Bergman’s Jajo węża / Serpent’s Egg, and Gabriela Zapolska’s Ich czworo / Four of Them at the Stefan Jaracz Theatre in Łódź, Amanita Muskaria’s Daily Soupat the Narodowy Theatre, Marek Modzelewski’s Dotyk / The Touch at the Powszechny Theatre in Warsaw, Artur Pałyga’s Tato / Dad at the Bagatela Theatre in Kraków, Anton Tchekhov’s Trzy siostry / Three Sisters at the Dramatic Theatre in Warsaw, and Artur Pałyga’s Rewizor. Będzie wojna / The Government Inspector. There is Going to be a War and Paweł Wolak and Katarzyna Dworak’s Gdy przyjdzie sen / When Sleep has Come at the Ludowy Theatre. Winner of numerous awards for direction, notably recipient of three prizes at the National Competition for the Staging of Polish Contemporary Plays, and a further three prizes (including the 2019 Grand Prix for directing When Sleep has Come) at the Portrayed Reality Contemporary Drama Festival in Zabrze, and at the Live Classics Competition for the Staging of Historical Works of Polish Literature.
Choreographer, dancer, and actress. A graduate of the AST Academy of Theatre Arts in Kraków. Holder of scholarships from the prestigious DanceWeb Europe programme, Art Stations Foundation in 2007, ArtsLink in 2009 (Dance New Amsterdam, NY), the Polish Ministry of Culture and National Heritage in 2011 and of artistic residence programmes, notably at the Tanzhaus Düsseldorf. In 2008 she set up the Harakiri Farmers art collective with Wojtek Klimczyk, as part of which she completed several interdisciplinary projects. In 2012 she organised and curated the New Dance in the Old Kraków Festival and cooperated with Kraków Theatre Reminiscences as dance curator. She works as choreographer for Polish and foreign dramatic theatres, and also runs projects in dance (such as Testament Optymisty / An Optimist’s Last Will at the Łaźnia Nowa Theatre), film (There), drama (Bang Bang, Stefan Jaracz Theatre in Łódź), and theatre-and-dance (Popołudnie Fauna / Afternoon of a Faun at the Rozrywki Theatre in Chorzów (2017) and Obóz Katarakta / The Cataract Camp at the Juliusz Słowacki Theatre in Kraków (2017). Characteristic of Knapik’s style, focused on strongly formalised everyday gestures, is her sense of humour and free drawing from various arts. In 2015 she was nominated for the Passport Award of Polityka weekly in the category of Theatre, and two years later she won The Golden Mask for the choreography for Leni Riefenstahl. Epizody niepamięci / Leni Riefenstahl. Oblivion Episodes.
Photo Wolfgang Macher
Studied physics, painting and graphic design, and film and theatre directing. His début was the production of Stanisław Mrożek’s Rzeźnia / The Slaughterhouse at the Juliusz Słowacki Theatre in Kraków in 1976. He surrounded himself with young actors at the C.K. Norwid Theatre in Jelenia Góra where he became fascinated with Witkacy and Jungian psychoanalysis and studied the potential of the theatre as an epistemological tool. It was then that productions based on Witkacy’s dramas arose; Nadobnisie i koczkodany / Dandies and Frumps, Pragmatyści / The Pragmatists, and Maciej Korbowa and Bellatrix. In the latter half of the 1980s Lupa made his home in Kraków for good. He adapted the great works of German and Russian literature – Rilke, Musil, Dostoevsky – for the Kameralna Stage of the Stary Theatre. The actors’ creations in his productions, such as Bracia Karamazow / The Karamazov Brothers and Kalkwerk, are characterised by exceptional concentration and emotional precision. The adaptation of Broch’s Lunatycy / The Sleepwalkers took place in 1995–98. Krystian Lupa’s theatre provokes lively audience reactions in Poland and abroad. Another theme that increasingly engages him is mystification and hypocrisy, which is not unfamiliar to creative minds; here inspiration is provided by the unmasking works of Thomas Bernhard. Lupa has staged his novels and dramas in Kraków, Wrocław (Immanuel Kant at the Polski Theatre) and Warsaw (Dramatyczny Theatre). Exploring issues and myths around human spiritual development, he increasingly often draws from Russian literature (Chekhov, Gorky) and contemporary drama (Dea Loher, Werner Schwab). His later productions (Factory 2 at the Stary Theatre in Kraków, Persona.Marilyn at the Dramatyczny Theatre, and Wycinka Holzfällen / Woodcutters.Holzfällen at the Polski Theatre in Wrocław) focus on the quest for the answer to the question about the artist’s identity.
Dancer, choreographer, teacher, contemporary dance and yoga instructor. A graduate of the SEAD Dance School in Salzburg and of Berlin’s Ernst-Busch/HZT, she holds a master’s degree in psychology from the University of Warsaw. She explores the relationship between the dreaming and the dancing body, and on issues in the choreography of the imagined. She has participated in numerous Polish and foreign dance workshops, and has organised improvisational meetings since 2008. In 2010 Nowicka joined Art Stations Foundation, the talent forge at Poznań Old Brewery, where she created her first independent choreographies. She develops dance projects and productions in many European countries, including Slovenia, Austria, Croatia, Greece, Germany, Poland, and Hungary and has garnered many accolades, including awards and scholarships that include the winning production of the 100 GRAD Festival at Berlin’s HAU (2012) for fire is raging in your hair, and her solo project the truth is just a plain picture. said bob (2010) which made its way to the Polish Dance Platform 2012.
Photo Marta Ankiersztejn-Węgier
Choreographer and dancer, graduate in Political Sciences at the University of Warsaw and in Choreography and Performance at the London Contemporary Dance School. He works with choreographers and visual artists, creating choreographies for theatres. His works include Bernhard, Total, Jumpcore, and (with Anna Smolar) Thriller. Sakowicz received an honourable mention at the 22nd National Competition for the Staging of Polish Contemporary Plays (2015/16) and was nominated to the Passport Award of Polityka weekly in the category Theatre (2016). Holder of scholarships from danceWEB (2017) and other choreography-related programmes. He has shown his works during two editions of the Polish Dance Platform, and at the NYU Skirball and CAC New Orleans. In 2019 he choreographed Masakra / Massacre, a dance production at the Nowy Theatre in Warsaw.
Photo Dawid Grzelak
Choreographer, director, and performer, Tomaszewski studied Theatre Studies at the Warsaw Academy of Theatre Arts and Choreography at the Brucknerkonservatorium Linz in Austria. A graduate of a music school, he honed his vocal skills with the Choir of the Wielki Theatre in Warsaw over 15 years. His works include a his own version of Franz Lehár’s Wesoła Wdówka / The Merry Widow (best young director and the best off production of 2009 in Vienna) and the acclaimed music productions by Capella Cracoviensis, including m.m.m. bar.okowa uczta with Monteverdi’s madrigals, Naturzyści / Naturists songs of Mendelssohn, Karaoke sakralne. Mozart Requiem / Sacred Karaoke. Mozart Requiem, Piosenki miłości i śmierci / Songs of Love and Death Brahms’s German Requiem, as well as operas, including Gluck’s Orfeo and Eurydice, Haendel’s Amadigi di Gaula, and Moniuszko’s Halka. He has also worked in theatre drama on Wesele według Wesela / Wedding based on Wedding (for the Jan Kochanowski Theatre in Opole), Żołnierz królowej Madagaskaru / Soldier of the Queen of Madagascar (for the Wojciech Bogusławski Theatre in Kalisz), Kto nas odwiedzi / Who will Visit Us (for the OCH-Teatr in Warsaw), Jan Peszek. Podwójne solo / Jan Peszek. Double Solo (for the National Stary Theatre in Kraków), Gdyby Pina nie paliła to by żyła / If Pina Hadn’t Smoked, She Would Be Alive (for the Jerzy Szaniawski Dramatic Theatre in Wałbrzych), and Cezary idzie na wojnę / Cezary Goes to War (Komuna/Warszawa). His proprietary designs were used by Austrian and Swiss theatres.
Photo Pola Błasik
An active choreographer, curator, writer and editor, Michiel Vandevelde studied dance and choreography at P.A.R.T.S., Brussels. As a freelance curator he has worked for Extra City Kunsthal, Het Bos, Bâtard Festival, and the Precarious Pavilions. He is an editor for Disagree. magazine and he has written articles for Etcetera, De Witte Raaf, Rekto:Verso, H-ART, Mister Motley, etc. His four-year residence at the Kaaitheater in Brussels began in 2017. Vandevelde’s work explores the elements that constitute or obstruct the contemporary public sphere. He ponders what other alternative social, economic, and cultural solutions could be devised to question, challenge, and transform the dominant logic and organisation. He has run assorted projects both in public space and in performing arts institutions.
Lithuaniana theatre and opera director. Varnas began his onstage adventure in 1980 as a stage hand and director‘s assistant in Lithuanian Russian Drama Theatre in Vilnius. Four years later he was the director of the amateur theatre studio and in 1987 became assistant to the director of the National Kaunas Drama Theatre. A year later he set up the avant-garde Šėpos / Shepa Theatre. At the same time he was studying at the Faculty of Drama Directing of the Lithuanian Music and Theatre Academy. In 1998–2004 he worked with the State Youth Theatre, Vilnius Small Theatre, Lithuanian National Drama Theatre, State Dramatic Theatre in Kaunas, Lithuanian National Opera and Ballet Theatre, and the Latvian National Opera. In 2008 he set up the Utopia Theatre in Vilnius that continues to be vigorously active. Varnas has not ceased working on international theatres and operas, and has been present on the stages of Lithuania, Latvia, Slovakia, and Poland, where his play was performed at the Kontakt International Theatre Festival in Toruń (1998). In 2005 he received the Lithuanian National Culture and Art Award.
Iza Szostak is a choreographer, dancer, and performer. A graduate of the Warsaw Ballet School and Codarts/Rotterdam Dance Academy in the Netherlands. She has also held a scholarship to Belgium, to the troupe of Jan Fabre/Troubleyn. Created a number of productions, notably RE//MIX–Merce Cunningham, Ciało. Dziecko. Obiekt. / Body. Child. Object., Europa. Śledztwo / Europe. An Investigation, Balet koparyczny, National Affairs, PRIV, and le journal secret. She has long worked with an AV artist, Kuba Słomkowski, and is part of Centrum w Ruchu, a Warsaw collective.
In her artistic practice, Iza Szostak makes use of new materialism that provides the perspective and tool for considering matter active and creative. Her choreographies are often based on the system of communication developed between body and object. She uses processed visual arts and film images, anthropological research, and her private video archive and biography as the substance of her work. Her productions explore hybrid forms: the body seems to be a costume and a carrier of states and emotions. Szostak finds choreography an instrument for building a new order.
Photo Katarzyna Szugajew