MANHATTAN [pl]

manhattan: wiak / komędera-miśkiewicz

Spektakl MANHATTAN   [fb link]

Premiera: 1 września 2019 / godz. 19:00 / Bytomski Teatr Tańca i Ruchu ROZBARK

Powstaje w ramach programu Teatru ROZBARK Młodzi na Scenę.

Musimy się zniszczyć, albo pokochać.

Bomba atomowa to najpotężniejsza broń, jaką stworzył człowiek. Jej siła sprawia, że w bliskim otoczeniu eksplozji materia przepada. Amerykański Projekt Manhattan miał na celu konstrukcję pierwszej bomby atomowej. Była to bomba paradoksalna: miała przynieść wielkie zniszczenia i jednocześnie zakończyć wojnę.
Zrzucenie bomby “little boy” na Hiroszimę było przerażającym przykładem działań człowieka demonstrującym, że sposobem na pojednanie jest zwiększenie przemocy. Sam “Projekt Manhattan” wywołał początkową falę euforii (po kapitulacji Japonii), potem zaś poczucie niepokoju nad siłą sprawczą przemocy, do jakiej człowiek jest w stanie się posunąć.

Twórczynie poszukują inspiracji w przeciwległych doświadczeniach: w brutalności i kruchości, w cierpieniu i pięknie. Szukają piękna utopii w rzeczywistości spirali przemocy, z której trudno się wyrwać. Dziś coraz trudniej wyznaczyć linię między rzeczywistościami wojny i pokoju, w jaki sposób więc przejmować się sprawami, na które nie mamy żadnego wpływu?
W przedstawieniu artystki podejmują szereg pytań, na które nie sposób udzielić jednoznacznej odpowiedzi. Czy zawsze da się powiedzieć, kto atakuje i kto jest ofiarą? Czy człowiek jest w stanie powstrzymać się przed wyprodukowaniem tego, co wyprodukować potrafi? Czy wojnę da się zakończyć w inny sposób niż eskalacją przemocy? Czy zwycięstwo musi być totalne? (dw, dkm)

Koncepcja, choreografia, wykonanie: Daniela Komędera-Miśkiewicz, Dominika Wiak
Muzyka, wykonanie: Aleksander Wnuk, Michał Lazar (W/L DUO)
Projekcja wideo: Natan Berkowicz
Reżyseria światła: Paweł Murlik
Projekt plakatu, ulotki: Aleksander Joachimiak
Zdjęcia promocyjne: Dominik Więcek
Produkcja: Bytomski Teatr Tańca i Ruchu ROZBARK
Zrealizowano w ramach programu Młodzi na scenę Teatru ROZBARK oraz Stypendium Twórczego Miasta Krakowa przyznanego Dominice Wiak. Współfinansowanie ze środków Miasta Bytom.
Współpraca: Living Space Theatre

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Doctor in Arts

phd

Speaking shortly as possible, it is my immense pleasure to confirm that I have become Doctor in Arts, on June 9th of 2019.
Thank you Prof. Jan Pilch and Academy of Music in Cracow, and great many precious people.

Mówiąc najkrócej jak to możliwe, z wielką przyjemnością potwierdzam fakt uzyskania stopnia naukowego Doktora Sztuki, wraz z dniem 9 czerwca 2019 r.
Dziękuję Prof. dr hab. Janowi Pilchowi, Akademii Muzycznej w Krakowie i wielu cennym osobom.

Yours sincerely / Z poważaniem,
Aleksander Wnuk, Ph.D.

#ECHO CHAMBER at KODY FESTIVAL

#ens

This May I am joining Hashtag Ensemble from Warsaw to perform at KODY, the 11. FESTIVAL OF TRADITIONAL AND AVANTGARDE MUSIC in Lublin, Poland.

The event is called #EchoChamber and it is designed as a simultaneous concert of three comissioned works, with further video projections.

Time: May 9 / Thursday / 20:00
Place: The Centre for Culture in Lublin
(Main Auditorium / Underground / Black Hall)

Hashtag Ensemble – a music cooperative specializing in the performance of contemporary music, improvisation and artistic education – will join the previously announced artists of the festival. The group consists of Polish musicians of the young generation: composers, vocalists, instrumentalists and conductor Lilianna Krych.

Hashtag Ensemble #EchoChamber is a music interpretation of the phenomenon having a music-related name. The project would feature young composers: Jagoda Szmytka, Nina Fukoka, and Artur Zagajewski. However, the change of program occured, and instead of Szmytka’s work we will perform a conceptual piece by Jennifer Walshe.

#EchoChamber will address migration – a topic stirring strong emotions and extreme opinions in the web. The group will offer personal migration experience to each listener, who will be faced with their own past choices and with the loss of other points of hearing.

Programme:
Jennifer Walshe – AND JUMP FROM THE GOLDEN GATE BRIDGE
Artur ZAGAJEWSKI – LA MER /watch?v=y1RpVZNSw6k / commissioned by CODES Festival / premiere
Nina FUKUOKA – 5 Secrets to Making New Music / commissioned by CODES Festival / premiere

Artists:
Ania KARPOWICZ – flute
Oliwier ANDRUSZCZENKO – clarinet
Wojciech PSIUK – saxophone
Hubert ZEMLER – percussion
Paweł JANAS – accordion
Wojciech BŁAŻEJCZYK – electric guitar
Krzysztof KOZŁOWSKI – synthesizers
Marta GRZYWACZ – voice/performer
Agnieszka GUZ – violin
Marta PIÓRKOWSKA – violin
Aleksandra DEMOWSKA-MADEJSKA – viola
Dominik PŁOCIŃSKI – cello
Mateusz LOSKA – double bass

feat:
Nikola KOŁODZIEJCZYK – Hammond organ
Aleksander WNUK – percussion
Alicja PILARCZYK – violin
Jakub GUCIK – cello

Michał BEREZA – sound engineer

kody-festiwal.pl/en
kody-festiwal.pl
hashtag-ensemble.org


[PL]

Projekt Hashtag Ensemble – #EchoChamber – będzie interpretacją fenomenu o inspirująco muzycznej nazwie. Zaproszenie do udziału w projekcie przyjęli wybitni kompozytorzy Jagoda Szmytka, Nina Fukuoka oraz Artur Zagajewski. Autorami koncepcji są Wojciech Błażejczyk, Ania Karpowicz i Lilianna Krych.

kody    # ensemble

EN FACE IMPRESSIONS

Aleksander Wnuk, EN FACE
EN FACE practice, photo by Sarah Nemtsov

Here goes Ricordi with first impression of the World Premiere of Sarah Nemtsov’s EN FACE, concerto for percussion solo, narrator and orchestra.

LINK TO RICORDI.COM

The premiere took place in Staatstheater Cottbus on April 5. and 7. 2019.

Aleksander Wnuk, percussion
Jakob Diehl, narrator
Felix Bender, conductor
Philharmonisches Orchester Cottbus

The score published by Ricordi.

EN FACE / NEMTSOV / WNUK / DIEHL / BENDER / COTTBUS

fot. Błażej Bauer

EN FACE by Sarah Nemtsov

Concerto for solo percussion, narrator and large orchestra
on text Loneliness by Bruno Schulz

The World Premiere is taking place at Staatstheater Cottbus, Germany.
April 5 / 20:00 / Grosses Haus
April 7 / 19:00 / Grosses Haus

Aleksander Wnuk, percussion solo
Jakob Diehl, narrator
Philharmonisches Orchester Cottbus
Felix Bender, conductor

Nemtsov_(c)_Rut_Sigurdardottir_20.jpg

The solo percussionist has his own space, his own “room” on stage. His instruments are placed and hung around him on four, possibly interconnected high stands. His  instruments are less classic percussion instruments, but more objects.

en face setup.jpg

The solo percussionist plays only with his hands! 2 microphones are attached to his wrists. Hitting the instruments and movements therefore always “zoom in” into a sound, or into an instrument/object. The sounds are taken under a microscope. There are mainly these following ways of using the hand: flat hand (with fingers), palm, fist, knuckles (knocking sound), only fingers and fingernails, also occasionally elbows. In some places, an object is also stimulated with other objects (with cans, stones or even a cow bell on gong, etc.). The hands often make extra movements after the attack to capture resonances, to amplify, and to rhythmize them – for example, circles above the gong or nearer (zoomed in and out) or back and forth between two cymbals. As for gong, cymbals and thunder sheet the result should sound “synthetic” (almost like pure electronic music). The movements are sometimes faster, sometimes slower. Some of them are rhythmically exact notated, sometimes kind of – sometimes not at all (but thought of, because of course there are also movements by instrument change etc.!). If small movements and noises happen just coincidentally (hand on clothes or skin, for instance), these are no flaws, but also considered and embraced.

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The soloist moves in his room, where he is both protected and defenseless. Basically, this solo part is about a special form of choreography (and coordination). At the same time, inwardness. The soloist has no mallets (the usual “weapon” of a drummer), his hands become ears, he perceives everything very intensely and is vulnerable in his intimacy on stage. The virtuosity is thus of a different kind, it is more of an inner space and a virtuosity of sensibility.

l.jpg

The actor sits at a table. Maybe like a kind of false, imaginary reflection of the solo percussionist. Possibly the “I” of the short story. A miniature stage setting.  Freedom: the actor produces sounds and noises reacting to the percussion solo part or even anticipating it. So there can be rustling, crackling, a jingling of keys, or a chain in his hand. Perhaps the teacup is led to the mouth with trembling hands (clinking), just as the solo percussionist holds his cups trembling. The actor may even, at the very end, absurdly pull a small bird call, whistle out of his bag, perhaps he makes other sounds or gestures. Maybe he hits the table, maybe he gets up suddenly (in rage) or scratches the table or something else (no limits to imagination here). It is also possible to perform the part less theatrically: as a narrator. The narrator does not need a set design, he can just be on stage, standing or sitting on a chair, maybe close to the solo percussionist ‐ perhaps even inside his “room”.

“Should I tell you that my room is walled up?…In what way might I leave it? Here is how: Goodwill knows no obstacle; nothing can stand before deep desire. I have only to imagine a door, a door old and good, like in the kitchen of my childhood, with an iron latch and bolt. There is no room so walled up that it will not open with such a trusty door, if you have but the strength to insinuate it.”
― Bruno Schulz

d.jpg

LINKS:
Staatstheater Cottbus
Chat with Sarah Nemtsov (3:30 about En Face)
Sarah Nemtsov website

CARPATHIAN NEW WAVE

Carpathian New Wave, vol.1 / ALEKSANDER WNUK
workshop + performance

Carpathian New Wave

FEBRUARY 15-16, Presov, Slovakia

PLAN:
FEBRUARY 15:
– Workshop #1 / 18-21 [LINK]
FEBRUARY 16:
– Workshop #2 / 11:30-13:30
– Workshop #3 / 17:30-18:30
– Performance / 20 [LINK]

Program for the performance:
– Georges Aperghis Graffitis for solo percussionist (1980)
– Georges Aperghis Zig-Bang New Wave Version for a group of hanging out people (2019)
– Francois Sarhan Situation 7: Imagination for two performers (2015), with Elia Moretti
– Rolf Wallin Scratch for amplified Balloon (1995)

CARPATHIAN NEW WAVE is a series of sound workshops and performances of contemporary artists from the Carpathian region. The first artist will be Aleksander Wnuk, a polish percussion player who is developing his specific research on the performativity of sound and body as a performer / musician.

The workshop and the performance are focused on the distinctive style of organizing the quasi-theatrical aspects of instrumental performance by the musical parameters. It is a sensibility and spirit of the individual performer, and his personality, that drive the dramaturgy and ambience, yet it is all within space of the composition that is pre-determined by the composer. The greatest composer of this language is Georges Aperghis.

The workshop will be divided in two parts:
1. Introduction on the idea of this language of performativity (15.02)
2. Arranging the piece (15-16.02)

The piece shall be a small choice of short texts from Aperghis’ book Zig-Bang. Texts will be translated into music and arranged into the quasi-theatrical situation. The worksop will need the amount of people interested in cooperating in this style.
However, it will be necessary to have musical instruments, so local musicians are welcome, but definitely not only (the instrument can be anything). The texts would be sent prior the workshop date to those who are interested, in order to make them familiar with the situation. The workshop will be focused on the plurality of personal approaches and imaginations of the participants.
The exact quasi-theatrical situations will be arranged on spot, yet the general idea, including solo performer, will already be pre-determined. The result will become the part of the performance on the February 16th. Or it will become the stage arrangement of the whole evening show, within which the solo pieces and some small solo moments will occur.

In order to participate to the workshop is necessary to attend to the three parts. Participation is free, reservation is necessary.
To reserve your participation, or ask any further information, please write to the address elia.moretti@yahoo.it

Produced by Matróna and Združenie Wave.
Carpathian New Wave is supported using public funding by Slovak Arts Council.

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Peszat’s chamber works

I would like to share two really good works by Piotr Peszat for the chamber ensemble composed in 2018.

Untitled Folder, here performed with Spółdzielnia Muzyczna Contemporary Ensemble (Cracow), my beloved home ensemble.

Grocery Store Music #5, here performed with Hashtag Ensemble (Warsaw), fantastic group that has invited me to work together few times this year.

Enjoy!