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Teatr Academia operates since 1999 at Warsaw district called Praga. Its performances belongs to the school of visual narration which means that they focus on intense vividness of imaginery, precision of a stage movement and music quality. Besides its own plays, the theatre also hosts guest plays, popularize theatrical activity, animated a few edition of the project “Sąsiedzi dla Sąsiadów” (Neighbors for Neighbors). For many years the theatre was shaped by many actors, dancers, sculptors and musicians.

The artistic supervision over the theater is run by Roman Woźniak – sculptor, scene designer and professor of the Warsaw Fine Arts Academy’s faculty of Sculpture. He is the author of several plays. His initiatives largely contribute to making Praga a cultural phenomenon of Warsaw.

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SEXTET, THREE DUOS AND A PIN

We present to you our newest play: „Sekstet, Trzy Duety i Spinka”. (Sextet, three duos and a pin). It was released in May 2009. It is an authorial play of Roman Woźniak. Sextet, three duos and a pin Academia Theatre gathers visual artists and dancers, therefore the power of  visual narration, music and beauty of stage movement are crucial in the performances. Sextet is a parable about the confrontation between the sexes and the stereotypes of its perception. It’s about enslavement, routine but also about the joy of  observing the world from a distance, and reversed perspective. The play was inspired by the works of a renowned American photographer Irwing Penn. His precise, cool and elegant portraits rather hide than uncover people's passions and emotions... What is covered and hidden is our main target.  However, while working on the performance, this inspiration became somewhat a  background whereas some new, unexpected tensions appeared between the  characters.  Just like in a photographer's studio where we try to present our specific  image and any violation of our convention reveals our true self. z The performance structure resembles that of a jazz tune with light motifs and  its improvisations. The music composed by Konrad Kucz is maintained in a similar  convention. The created characters live their own life and often surprise us with their passions and sense of humor.  As usual in Academia Theatre, the project involves actors as well as dancers.


 

 

KANASTRA is a play:

about useless but intriguing object,

about the beauty of herd instincts,

about touching individuals,

about the crooked-fate of random games,

about the fact that people want to be loved at all costs.

It is then an impression about the phrase “…because I hate you, you mucker”, and a gun that hanged on a wall in the first act, and some other circumstances. A particular character in this play is a raw but very intense scenic object. Because of it and thanks to it everything happens. It is a peculiar corset that emboldens behaviors that we know from daily life and these one that challenge a patency of our projections. The power of “Kanastra” is a visual attractiveness, rich narrative music and original stage movement – these are typical features of Teatr Academia.

 


 

 

PAGE   AFTER   PAGE

In the play “Strona po stronie” (Page after page) the main character – a mature man – recalls the women in his life. The variety of theirs character types and emotional features result from a multitude of skill levels and techniques that performers invited to the project operate on (i.a. acrobatics, modern dance, ballroom dancing and pantomime). Peculiar review “own” technique became a base of creating scenic characters. We can see, mostly far from psychological persona, emotions of body submitted to the exertion, rhythm, need of being appealing or repeatability of behavior.

 “Strona po stronie” is also an impression about the phenomena of passing, searching of ideal, naivety, needing of affection, extremity of beauty, immaturity... and all these things that we think while seeing a photo album.

 “Strona po stronie” is a play from a sphere of theatre so-called visual narration. It is built by imagining sequences – clear plasticity of theatre and character of stage movement. Essential role for animation of these sequences plays music that is critical both as a media of dynamic and meanings.

The play doesn’t operate linear narration or after-effect consequences. It isa impressionistic game of colloquial behaviors and clichés. Actors make them assynthetic dramatic signs in order to build independent and polysomic world that range between real detail, hallucinatory phrases and storied prescinding.