03:00 – 05:30 PM

Hilary Jones, Molly Quinn, Meryem Sengun (UK) Intimacy Coordination: a tale of rights, resistance and revolution  

Adrianna Malecka (Poland) Intimacy in actor’s work at the stage of entering the profession. The practical perspective  

Małgorzata Jabłońska (Poland) Presentation of the Safe Space Project at the Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw 

Katarzyna Waligóra (Poland) Possible perspectives for the implementation of the principles of intimacy coordination in theatre processes 

Open discussion with Agnieszka Jakimiak, Adrianna Malecka, Paweł Sztarbowski, Katarzyna Szustow, Kaja Wesołek, Marta Zygadło (Poland) 

moderators: Katarzyna Waligóra, Izabela Zawadzka 


Hilary Jones   BA, IPA, TESOLhas been a member of ‘The Centre For Voice in Performance’ at The Royal Conservatoire of Scotland since 1996, having previously taught at a number of leading UK drama schools. Her international profile includes training for The Singapore Broadcasting Company, masterclasses for Flinders University and the Sydney Conservatoire in Australia, visiting Voice Professor at The Academy of Film and Theatre in Bucharest, voice coach for the award winning Teatrro Biuro Podrozy in Poland and master practitioner sessions for Yell Studios in Atlanta.  Closer to home, she has coached on productions for The National Theatre of Scotland, The Royal Court  and BBC Radio Scotland.  TV and film work includes ‘Lip Service’ for Kudos (BBC3) ‘Case Histories’ (BBC1) ‘Waterloo Road’ (BBC1) and ‘You Instead’ for Sigma Films. Hilary was dialect coach on ‘The Wife’ for which Glenn Close won a Golden Globe and in 2021 worked on the films ’Sweetly It Turns’ and ‘Girl’ – both due for release this spring. More recently she eompleted dialect work for an HBO Max blockbuster. 

Hilary has a particular research interest in ‘Performance Stress’ interrogating the relationship between neuroscience and the voice. She was a founding member of ISSTIP, has acted in an advisory capacity for the British Association of Performing Arts Medicine and was a member of the British Voice Associations Education working party. 

A highly experienced Presentational Skills trainer Hilary has run numerous courses in creative communication for clients as diverse as KPMG, NHS Managers, Housing Options Scotland, Inclusion Scotland, Amazon, Strathclyde’s Legal Department, and Stirling University.  

Since 2019 she has been working alongside colleagues on the Erasmus: Change-Now! Project with a specific focus on the rise of Intimacy Co-ordination and its impact on the industry. 

Adrianna Malecka (b. 1995) – stage and film actress, Theatre Academy of Warsaw graduate (2022), studied in Łódź Film School (2014-15).  While studying at the Academy, starred in National Raszewski Institute of Theatre’s production of „The Dismissal of the Greek Envoys” by Kochanowski, and cooperated with Collegium Nobilium Theatre, where she played parts of Antigone in diploma performance „Antigone. Oedipus”, Rena in „Stramers” and co-wrote her part in „Club” (performance made in “Change-now” programme, dir. W. Szczawińska, co-produced by TR Warszawa), which was considered to be the most important performance dealing with the subject of sexual harassment and abuse of power in theatre and culture, and was awarded at International “Boska Komedia” Festival in Kraków and International “Kontrapunkt” Festival in Szczecin. On 39th Festival of Academic Theatre she won 1st Prize for Best Role (for roles of Antigone and Rena) and Critic’s Choice Award “Golden Razor”. 

Her big stage debut was “The Lost Dignity of Katherine W.” (dir. K. Szczypek, prod. Zagłębie Theatre in Sosnowiec) based on Heinrich Boll’s novella and tragic real life events which took place in Sosnowiec. Since 2021 she’s part of Zagłębie Theatre’s ensemble, starring in numerous productions including: “Środula. Landscape of Maus” (dir. R. Brzyk), “Taming of the Shrew” (dir. J. Jabrzyk, winning Critic’s Choice on 26. International Shakespeare Festival), “The time is out of joint. Theatrical stand-up” (dir. J. Kozłowski) or “Kreshany” (dir. O. Apchel).  

She also played Angelique (main female part) in Dramatic Theatre of Warsaw’s production of “Le Malade imaginaire” (dir. D. Kopiec) and young Sylvia Plath in Studio Theatre’s production of „Plath” (dir. K. Kalwat).  Aside of theatre, she starred in main roles in numerous short films, music videos and episodic roles in cinematic productions. Her silver screen debut was role of Kazia in „Young Piłsudski”, and her most recognizable part was Malwina in TVN’s daily „Head over heels in love”. 

She cooperates with Theatre Academy in Warsaw as an assistant tutor in numerous classes (including classes held by prof. B. Suchocka and W. Szczawińska Ph.D). Her most recent developements was a screenplay for short film „Nela”, which she co-directed and starred in, stage project „Pass it further”, which is an experiment in field of documentary theatre and performative acting techiques and book based on her Master’s Thesis „Intimacy in actor’s profesion – methods of safe work form the perspective of popularization of intimacy coordination” which will be the first Polish companion for actors and directors dealing with the subject of playing intimate scenes. 

Katarzyna Waligóra – PhD graduate, assistant professor at the Department of Theater and Drama, Faculty of Polish Studies, Jagiellonian University. She also works at the Theater Academy in Warsaw. Theatre critic and educator. Author of the book “It’s not a brand new horse: on the theatrical props”. Co-editor of the monograph “Theater of ugly feelings”. Together with Katarzyna Niedurny, she hosts the Podcast o Teatrze.



Izabela Zawadzka – theatre researcher, curator and manager of culture. PhD student at the Department of Theatre and Drama of the Jagiellonian University in Krakow. Her academic interest focuses on walking performances and museal performances. Member of the research group “Safe space.  Best practices and tools for transforming theater education” in Theatre Academy in Warsaw. 




Agnieszka Jakimiak – theatre director and playwright, doctoral student at the Department of Drama, Theatre and Dance at Royal Holloway, University of London, graduate of the Individual Studies in the Humanities Department at the Warsaw University and the Directing Department at the Theatre School in Krakow. Her current research is focused on traces of censorship and self-censorship within the realm of theatre and performing arts. Her work combines self-referential analysis and institutional critique and remains focused on interrogating forms of distribution of power and challenging hegemonic practices in theatre. 

She has directed plays at Teatr Powszechny in Warsaw: Fear Eats the Soul (2017) based on a script by Rainer Werner Fassbinder and Still Life (2020) based on a script written by her main collaborator Mateusz Atman. At the Contemporary Theatres in Wroclaw and Szczecin, she directed The Futurological Congress, based on a short story by Stanislaw Lem. Together with Goran Injac and Joanna Wichowska, she worked as a dramaturge with Oliver Frljić on Un-Divine Comedy. The Remains, Un-Divine Comedy. Confession and The Curse. She has published in View. Theories and Practices of Visual Culture, Didaskalia, Dialog and Contemporary Theatre Review. Her most recent production is Miła robótka (Pleasant Job) co-created with Mateusz Atman – a performance on beginnings of Polish pornography. 

Katarzyna Szustow – certified intimacy coordinator (affiliation: Netflix, Sefe Sets), member of the European Intimacy Practitioners’ Guild, crisis coach, facilitator of safe creative processes. Co-author of the “Polish Guidelines for Intimate Scenes” developed by a coalition of 11 film organisations. Graduate of the Theatre Academy in Warsaw and the Warsaw School of Economics. 

As an intimacy coordinator she worked on film productions: “Perfect Addition” (dir. Castille Landon, stars: Ross Butler, Kiana Madeira, Matthew Noszka, Constantin Film, premiere: 2023), “Elephant” (dir. Kamil Krawczycki, 2022, best micro-budget film, Gdynia, winner of Chicago LGBTQIA Film Festival), “Filip” (dir. Michał Kwieciński, 2022, Silver Lions, Gdynia Festival), “Rojst’97” (dir. Jan Holoubek, Netflix). She finished shooting three productions for: disney+ and Gaumont Gmbh (“German House” mini-series), Constantin Film “In The Lost Lands” (stars: Milla Jovovich, Dave Bautista), Netflix (“Freestyle” dir. Maciej Bochniak). Kasia is currently working on a Polish feature film (TBA).  

 As a Consent Coach she provides individual support systems for challenging creative projects, and as a Crisis Coach she helps cultural organisations to implement an efficient and non-violent organisational culture. 

 Szustow has worked for Schauspielhaus Zürich on two productions as an Intimacy Coach for “Kurze Interviews mit fiesen Männern – 22 Arten der Einsamkeit” based on David F. Wallace, directed by Yana Ross (2021), and as Consent Coach for the production “Wilhelm Tell” by Switzerland’s most important director Milo Rau (2022). 

Read more: 

Kaja Wesołek – Podziemska 

Intimacy coordinator. Works in a duet with Marta Zygadlo as an Intimacy Duo – Intimacy Coordination Studio. Was part of the first production in Poland hiring intimacy coordinators (Sexify, year 2020). Since then she co-created around 100 intimate scenes in various productions. She continuously develops new techniques for intimacy coordination and choreography and adapts them in polish culture. She draws inspiration from her former experience in contemporary dance, acting and psychological professional background (master degree 2009 Warsaw University, practicing until 2019) 

Marta Zygadlo 

Intimacy coordinator. In 2022 joined in with Kaja Wesolek-Podziemska to create Intimacy Duo – Intimacy Coordination Studio. Marta is a former actress (master degree in 2001 National Academy of Dramatic Art in Warsaw) who during her acting career participated in intimate scenes both theater and movie. For many years she worked in movie production in a role of 2nd AD. Both her off and on stage experience inspired her to dig deeper into the art of creating intimate scenes. In her work, she draws inspiration from her experience as na actress, psychology and body movement.