Wojciech Grudziński

Wojciech Grudziński

DAS Theatre

In the center of my work stands the empathising body. I am a child of the 90s rooted in a residential area of gigantic blocks of flats and shopping malls in Poland. What I explore in my work is inclusion, queerness and embracing diversity. My practice is based on choreographic and performative freedom, there are no boundaries, there is no shame, embarrassment or “too much”. It is also a praise of dance and choreography heritage. In my work I aim to generate a welcoming playground space and celebrate different perspectives of the body image.

WOJCIECH GRUDZIŃSKI (1991) is a choreographer and dancer. He graduated from the National Ballet School in Warsaw and the faculty of contemporary dance at the CODARTS – Rotterdam Dance Academy.

He was supported by Movement Research Study Visit Programme at Judson Church in New York, organised in cooperation with GPS/Global Practice Sharing Program, Art Stations Foundation and the Institute of Music and Dance. He was an artist in residence at the Visegrad Artist Residency Program in Budapest and Prague. Furthermore he was a scholarship holder of the Ministry of Culture and National Heritage in Poland or the Capital City of Warsaw.

In the summer of 2019, Wojciech was a resident at Komuna// Warszawa, where he started to work on his first group piece inspired by Family Allotment Gardens landscape. RODOS premiered in Warsaw in September 2019 and is presented in the repertoire of the theatre. Grudziński's latest work presented in 2021 is DANCE MOM created in collaboration with the choreographer's mother. The concept’s jumping off point is derived from the “next of kin” aspect and the mother-son relationship. This performance was coproduced by Stefan Żeromski Theatre and Nowy Teatr in Warsaw in association with the Art Stations Foundation by Grażyna Kulczyk.

In my research at DAS Theater I would like to take a closer look at the ambiguity of bowing as a gesture. What is the difference between a stage bow and a social bow? Its paradoxical nature is hidden there: it is a gratitude on stage and it becomes a figure of acceptance and consent in a social sense.

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