Katarzyna Pawłowska

Teatr Porywacze Ciał
Poznań, wielkopolskie

Doświadczenie zawodowe

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The Body Snatchers Theatre was founded in 1992 by Katarzyna Pawłowska and Maciej Adamczyk. The company is one of the most interesting phenomena to emerge out of today’s modern theatre in Poland. Their shows are full of quotations, film aesthetic and references to modern cultural reality, at the same time they are also very personal, dealing with complicated relationships between people and the desperate search for some truth and completeness.
The fact that the companies performances touch upon relevant issues and are of a high artistic quality, has earned them not only a loyal audience following, but also some numerous awards at many festivals. In 1997, the company was awarded the “Young Art Medal” for “creative passion”. They are one of the most significant autonomous theatre companies in Poland. Since the very beginning of their existence, they attempted to "read" the new reality, the way of their functioning being the result of a conscious decision concerning the individual program and character of their art which would not repeat the well-known schemata.
The Body Snatchers Theatre is made of professional actors who had chosen to work in a non-institutional theatre. In their performances, the artists consciously use the strategy of parody and pastiche, signs and symbols of modern culture; they confront literary texts with vulgarisms, masterpieces with kitsch, quotations from literary culture with quotations from pop culture. They are contemporary mannerists, acquainted with the attitude of ironists, provocateurs and eccentrics. The
distinctive feature of The Body Snatchers Theatre is the photo of a big busted woman [an actress Chesty Morgan], the character of "Casanova" film by Federico Fellini. The style of Fellini who is considered a contemporary mannerist too, is close to the practice of the company which consists in breaking up taboos and aesthetic habits, using humour as an indiscriminate bludgeon; surrealism, sexuality, the battle of sexual features - feminity and masculinity shown in episodic scenes ruled by changeable moods. The artists test different theatrical forms and conventions, use the stylistics of vaudeville, cabaret, happening and performance, balance between the directness of psychodrama and the distance of metaphor. The performances of the The Body Snatchers Theatre are autonomous and complete statements. The Theatre does not interpret literature, but rather uses its own texts and the literary, film or musical quotations incorporated adequately into the structure of performance. With irony and reserve, they comment on the "new great world". They accept and tame the new reality, playing with the opportunities that arise in it, but at the same time being aware of its hidden dangers. The Theatre's name refers to the 1956 film by Don Siegel "Invasion of the Body Snatchers" in which people are replaced with their callous copies planted on the earth by aliens. The characters from the performances by the The Body Snatchers show symptoms of the "atrophy" of feelings. The successive performances not only experiment with a new convention or stage idea, but also express the gradation of emotions and the force of expression. Creating the mood of thought, language and form provocation, the artists trail "everyday mythologies" formed in the past and at present by the modern consumer society. Their performances express the existence of carnival culture characterized by the pluralism of beliefs, styles of living and forms of behavior, and, at the same time, by the loss of universal values. They show the contemporary man created by degraded myths and instincts; the man controlled by the set behavior patterns and displaying an unbalanced personality.
ALL PERFORMANCES:
ZAPIS AUTOMATYCZNY – 2012 (AUTOMATIC WRITING, solo performance by Maciej Adamczyk)
INVASION BY BODY SNATCHERS – 2010
MORE HEART CORE! – 2009
CORRECTOMUNDO – 2008
CYCLISTS – 2008 (street parade)
OUN – 2007 (solo performance by Kasia Pawłowska )
RA RE – 2006
VERY – 2006 (solo performance by Maciej Adamczyk)
TAJEMNICA W/G GOMBROWICZA – 2004 (THE MYSTERY AFTER GOMBROWICZ)
WSZYSTKIE GRZECHY SĄ ŚMIERTELNE – 2004 (ALL SINS ARE DEADLY)
PARADA ŚMIESZNYCH TWARZY (THE FUNNY FACES PARADE) – 2003 (street parade)
REKORD – 2003 (out door)
TEST – 2002
THE BEST OF… – 2001
SZTUCZNE ODDYCHANIE – 2000 (ARTIFICIAL BREATHING , outdoor)
VOL. 7 – 2000
TECHNOLOGIA SUKCESU – 1998 (TECHNOLOGY OF SUCCESS)
MINIMAL – 1997
AUTOFOBIA – 1996
ŚWINIE – 1995 (PIGS)
I LOVE YOU – 1993
PSY – 1993 (DOGS)
WHAT WE ARE PERFORMING NOW…
We will be happy to send further information about every performance and a DVD with full video.
MORE HEART CORE!
Katarzyna Pawłowska and Maciej Adamczyk together on stage again! At last!
“It has been a couple of seasons since their last performance in duet. It’s because the Body Snatchers Theatre was enlarging their team, at the same time evolving in the direction of performance art. They evolved, however, to do “More Heart Core”. And this is a firecracker, volcano, geyser, tornado… Add whatever you wish to the list – nothing would be stretching it. Two great actors. Two microphones. A dozen or so meters of empty space lined with a red carpet in the Old Printing House. Natural light. A couple of absurd props. And a real hard core, to a great extend improvised trip: cheeky, daredevil, with no compromises. Theatrical masters of reading collective emotions of postindustrial societies and juggling with trends, gags, and fashions ( “Vol. &”, “Technology of Success”, “Minimal”, “Pigs”, “I love you”) again hit us where it hurts in an exceptionally accurate and painful way. What is going on with us? We are furious! Permanently. Life sucks, bills suck, work sucks, advertising, TV, newspapers, communication… The list can go on forever. The actors go very far in illustrating this state of affairs. And they are hideously convincing. Then, they take themselves and us to therapy. We are going with them through the twists and turns of naming one’s needs, desires, dreams… We participate in treating depression, giving vent to stress. Then it gets – however it’s difficult to imagine – even more hard core. When it becomes unbearable, the storm (a real one, not theatrical) suddenly opens the window… Then, the atmosphere rapidly changes: here comes the time for a more relaxing part of the meeting. First, it’s leitmotif was the jackal – a mad mongrel, which is hiding in everyone of us. Now, it’s time for the giraffe – an animal of the biggest heart, gentle, serene, kind. So we shape modeling clay into
giraffes and we yield to the blissful atmosphere of relaxing workshops. If it was the end… But it isn’t. It all seems far to sweet. And how is it in real? After all, you know that. And the actors know it too. This is why they treated the hearts in such a “hard core” manner. I’m planning to see the performance once more. With its whole perfidious, perverse decay it still purifies. And by the way, I am very interested where the limits of improvisation lie. And what is going on between two performers when there is a storm raging over Poznan. Perhaps, I will see a whole different performance.”
Ewa Obrębowska-Piasecka Polska Głos Wielkopolski 27-28 June 2009
AUTOMATIC WRITING, solo performance by Maciej Adamczyk
AUTOMATIC WRITING is our latest performance which won the Grand Prix at X Ogólnopolski Przegląd Monodramu Współczesnego (10th edition of National Contemporary Monodrama Festival). According to the ranking made by “Theatre” review in 2012 Automatic Writing is one of the best performances of the season.
„Automatic writing” is a theatre master piece by all accounts – the performance is submerged in modern-day, very funny and iconoclastic in the same time, making a great philosophy from banality, ironic and full of self-reflection. The action of the performance takes place in a private island on a lake where the main character gives an interview to a journalist which is actually not there. Adamczyk does not reveal any “universal truth” to anybody he just takes us – as he says at the beginning – on an adventure because life’s about an adventure not about any truth (…)”
Paweł Świerczek – Portal Katowicki 25.06.2012
„… The new performance of Body Snatchers Theatre is a one man show full of energy and sense of humour, a compilation of few short scenes based on free association. The automatic writing which is a surrealistic way of writing without conscious awareness of the content, revealing subconscious and imagination - just right for an artist which is the main character (…)”
"Woody Allen mceńskiego powiatu" - Kalina Zalewska 27-04-2012
„(…) Body Snatchers Theatre gives a special meaning to the objects. They become an element out of the everyday life context, well known and absolutely ordinary. The artists invoke the Marcel Duchamp’s idea of Readymades. The art is what we consider art. Life may be art. As Duchamp’s famous urinal does, wellies, fishing rod or punch bag may be an artistic object. Adamczyk gets energy from this world full of various objects. In the final scene, while fishing the artist is throwing all those objects in the water and then, himself, he symbolically jumps into the lake of madness.”
Katarzyna Nowaczyk / Nowa Siła Krytyczna 08-03-2012
VERY solo performance by Maciej Adamczyk
The solo project by Maciej Adamczyk VERY, was performed for the first time in 2006 at International Theater Festival Malta. After its huge success “Very” was performer many times in Theatre of the Eighth Day as well as at numerous festivals in Poland. “Very” was also the winner of Grand Prix at National Contemporary Monodrama Festival in Warsaw, in 2007.
“This performance is a kind of police interrogation. The props are exhibits. The action becomes a crime scene investigation. The spectators have also their special place – behind the “one-way mirror” which makes them, on the one hand, prying observers, on the other hand investigators which are
supposed to arrest, judge, release on bail or just release the main character. But who is the main character? (…)”
Ewa Obrębowska-Piasecka - Gazeta Wyborcza Poznań 6 lipca 2006
„(…) A great acting, a touching text bringing to mind Franz Kafka’s nightmare, an engaging vision with dance and performance elements – the show “Very” by Body Snatchers Theatre from Poznań entranced the audience from Toruń.“
Grzegorz Giedrys Gazeta Wyborcza - Toruń.
OUN solo performance by Kasia Pawłowska
The premiere of OUN took place at the Malta Festival 2007. The project has been presented in numerous places in Poland, as well as in Slovakia and Croatia. Often performed in untheatrical and austere spaces, it always wins the appreciation of the audiences and excellent reviews of the critics.
„... Pawłowska in OUN throws us off the trail, she is trying to outtalk the emptiness inside and outside her character. Her perverse monologue is in its construction closest to the formula of stand-by comedy,
whose Polish version we have been looking for for a couple years. Dressed up as a teenage girl in a white dress, with her hair plaited quaintly, Pawłowska heroically announces to the audience that she is 39 years old. She is not into anything serious, she jus wanted to meet, she wanted it to be pleasant, with no fear of the audience, and the audience not fearing her. A bit irritated, she explains misunderstandings with the interpretation of the performance’s title. No, she didn’t want to create a performance about Ukrainian military and nationalist groupings. There will be nothing about history, nothing on politics. The abbreviation “Oun” is supposed to be understood as in biology class: it is the peripheral nervous system, in other words the thing which in a human actor is responsible for the contacts with the outside world. This self-comment, self-irony, and being self-thematic prevails the whole performance. Constantly talking, chatting like a schoolgirl, Pawłowska recollects events from childhood, exaggerates her phobias, prattles about her friends, reports her dreams. We are listening to the catalogue of odd events, mythologized images from childhood, which haunt Ms. Katarzyna. You want some attractions – there will be attractions: Pawłowska is climbing a patch of earth heaped up on the stage, she is stuffing her mouth with a tent cord, crawling through a tunnel made of foil, and constantly juggling with the gadgets laid out around her and waiting for their turn. The absurd actions of Pawłowska expose theatre tricks of the trade, they are drowning the emptiness, demonstrating why no finished structure can be created with such method of work. The actress of Porywacze Ciał staked on cheeky unpretentiousness, and she definitely succeeded in it. “Oun” is a very disinterested performance. With its help we can get to know Pawłowska a little better, with her faked lightheartedness, and probably genuine fear: what can we talk about here, who can we be in theatre? In art…”
Łukasz Drewniak Dziennik nr 16
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