{"id":103,"date":"2023-03-03T22:32:32","date_gmt":"2023-03-03T21:32:32","guid":{"rendered":"http:\/\/transformacja.at.edu.pl\/?post_type=spektakl&p=103"},"modified":"2023-03-07T10:13:47","modified_gmt":"2023-03-07T09:13:47","slug":"co-laczy-porazenie-mozgowe-perspektywe-queerowa-i-trening-aktorski","status":"publish","type":"spektakl","link":"https:\/\/transformacja.at.edu.pl\/en\/spektakl\/co-laczy-porazenie-mozgowe-perspektywe-queerowa-i-trening-aktorski\/","title":{"rendered":"QUEER"},"content":{"rendered":"

11.30 -1.30 PM<\/span><\/b><\/b><\/p>\n

Pelle Haneus<\/span><\/b> (Sweden) The bridge between Cerebral Palsy, queer perspectives and acting training<\/i>\u00a0<\/strong><\/p>\n

My research aims to find out how acting training for a norm-critical theatre is best combined with situation- and action-based methods of acting training in the Stanislavskij tradition. In this first stage of the work, I give a personal background to my ideas and values, and share some of my methods. I hope to receive feedback from colleagues, that will help me develop my methods.<\/span>\u00a0<\/span><\/p>\n

Pelle <\/span>Han\u00e6us<\/span><\/strong> is<\/span> an<\/span> actor<\/span>\/<\/span>director<\/span>\/<\/span>teacher<\/span> from <\/span>Stockholm<\/span>, <\/span>Sweden<\/span>. He co-<\/span>founded<\/span> the queer <\/span>theatre<\/span> Komonq<\/span> in 1999, <\/span>travelled<\/span> the <\/span>world<\/span> with the NGO <\/span>Clowns<\/span> without<\/span> Borders<\/span>, <\/span>worked<\/span> as <\/span>Artistic<\/span> Director<\/span> of a <\/span>regional<\/span> theatre<\/span>, <\/span>acted<\/span> on <\/span>stage<\/span> and <\/span>television<\/span>, <\/span>directed<\/span> shows<\/span> and <\/span>led<\/span> many<\/span> workshops<\/span> in <\/span>gender<\/span> aware-acting<\/span>, <\/span>internationally<\/span>. <\/span>He’s<\/span> currently<\/span> leading<\/span> the BA <\/span>acting<\/span> program <\/span>at<\/span> Malm\u00f6 <\/span>Theatre<\/span> Academy<\/span> in <\/span>Sweden<\/span>.<\/span><\/span>\u00a0<\/span><\/p>\n

Hubert Sulima<\/span><\/b> (Poland) Let\u2019s get lost<\/i>\u00a0<\/strong><\/p>\n

\"\"Hubert Sulima<\/strong> was born in Bielawa, Poland in 1989 and works in the fields of theatre, performance and dramaturgy. In 2017, he graduated from the National Academy of Theatre Arts in Krakow. But before that after being expelled he moved to Vilnius, Lithuania where he worked in the foster home and the Day Centre \u201cSviesa ” where therapists work through art with people with special needs, intellectual disabilities, learning difficulties, autism, down syndrome or cerebral palsy. In 2018 his play \u201cLitwa is my life\u201d was translated into Lithuanian and presented in the National Lithuanian Drama Theatre in Vilnius.\u202f<\/span>\u00a0<\/span><\/p>\n

After coming back to Poland and graduating (with the master thesis titled \u201cArt of failure\u201d) he created an artistic duo with director J\u0119drzej Piaskowski. As a collective they created a number of performances, which were praised for their search for new theatrical qualities, languages and topics, as well as for their \u201cextraordinary sensitivity towards characters, actors and viewers\u201d. Their work earned them invitations to many festivals, awards and mentions. In 2020 and 2021 the duo was nominated for one of the most important Polish art awards “Paszport Polityki\u201d. In 2020 Sulima was awarded the scholarship by Nowy Teatr in Warsaw “for outstandingly talented young artists\u201d.\u202f\u202f\u202f<\/span>\u00a0<\/span><\/p>\n

His main fields of interest are: the new folk and working class art, the queer art of failure and dramaturgy as a tool for new possibilities. Since 2022 he is a lecturer at the <\/span>National Academy of Theatre Arts in Wroclaw, where he lives.<\/span>\u00a0<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Szymon Adamczak<\/span><\/b> (Netherlands\/Poland) Decision to Be Queer<\/i><\/strong><\/p>\n

\u00a0<\/span>In this contribution I wish to revisit my dramaturgical and pedagogical practice as an example of queer positionality. While approaching queerness as an expansive framework of reference, I am drawn to the understanding of \u201cqueer\u201d as ideological and political commitment (Richard Ford). In articulating this attitude, I am indebted to understanding of the queer self as one that \u201chas to invent its place to speak and to thrive and to live\u201d (bell hooks), one that makes itself present via \u201cqueer structure of feeling\u201d, which is \u201cforged through resistance to heterosexist society\u201d (Gregg Bordowitz).<\/span>\u00a0<\/span><\/p>\n

Thinking through queer positionality in the context of performing arts and artistic education, I want to attend to the transformative potential of both theatre making and queerness as I recall autobiographically. By inviting notions of becoming and orientation (Sarah Ahmed), I am going to contextualize my performative and dramaturgical work within contemporary cultural production in relation to HIV, and in a playful opposition of notions of \u201cqueer theatre\u201d and \u201cstraight theatre\u201d.\u00a0<\/span>\u00a0<\/span><\/p>\n

I will be reflecting on a number of artistic processes I have been involved with in recent years as a dramaturg and advisor, both in Poland and in the Netherlands, including performances \u201cAn Ongoing Song\u201d (2017-2021) and \u201cKolorowe sny\u201d (2022). This transnational perspective is both in dialogue with the lived experience and cultural aspects of working in these countries under neoliberal capitalism and critically informed by varying societal and legislative standards and expectations regarding the livelihood and well-being of LGBTQ+ people.<\/span>\u00a0<\/span><\/p>\n

Szymon Adamczak<\/strong> (PL\/NL) <\/span>is<\/span> a dramaturg, <\/span>writer<\/span>, <\/span>theatre<\/span> and performance <\/span>maker<\/span> working<\/span> across<\/span> disciplines<\/span>. He <\/span>has<\/span> a <\/span>vital<\/span> interest<\/span> in HIV-<\/span>related<\/span> culture<\/span> and <\/span>transnational<\/span> queer <\/span>activism<\/span>. <\/span>Alum<\/span> of DAS <\/span>Theatre<\/span> and a <\/span>current<\/span> fellow<\/span> of THIRD, a program for <\/span>artist-researchers<\/span> offered<\/span> by DAS <\/span>Research<\/span>. As a dramaturg he <\/span>specializes<\/span> in <\/span>designing<\/span> artistic<\/span> processes<\/span>, non-<\/span>verbal<\/span>, <\/span>intimate<\/span> and <\/span>documentary<\/span> work<\/span>. In <\/span>his<\/span> own<\/span> creations<\/span>, Szymon <\/span>weaves<\/span> poetic<\/span> imagination<\/span>, <\/span>visual<\/span> sensitivity<\/span>, <\/span>theory<\/span> and <\/span>physical<\/span> performance.<\/span><\/span>\u00a0<\/span><\/p>\n

On Reorientation, Becoming and Artistic Positioning<\/span><\/i>\u00a0<\/span><\/p>\n

 <\/p>\n

Discussion moderated by <\/span>Bernhard Siebert<\/span><\/b> (Germany)<\/span>\u00a0<\/span><\/p>\n

 <\/p>\n

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