2017, performance, 50 min
concept: Przemek Kamiński, Mateusz Szymanówka, Marta Ziółek
choreography and performance: Przemek Kamiński, Marta Ziółek
dramaturgy: Mateusz Szymanówka
music: Lubomir Grzelak
light design: Aleksandr Prowaliński
video: Katarzyna Borelowska
production: Nowy Teatr
support: Visegrad Artist Residency Program – Performing Arts, art quarter budapest, Adam Mickiewicz Institute
2018, Pawilon, Poznań
2018, Tanztage Festival, Sophiensaele, Berlin
2017-18, Nowy Teatr, Warsaw (in repertoire)
2016, Trafo House of Contemporary Arts, Budapest (work in progress)
Emotionally overloaded forms circulate online and offline sculpting the surface of our bodies and identities. In So Emotional two performers hidden behind white theatrical masks inhabit images of ecstasy and despair, anger and fear to explore historical and contemporary forms of emotions and the emotionality of the forms itself. While shadowing each other, they browse through artworks, memes, gifs, scenes from the movies and music videos. They hack them, pile them up and set them in motion to consider body’s ability to act, resist and transform individually and collectively.
If body is a battleground and affect is a new frontier of political struggle, how can we prepare for it? And how can we cultivate microresistance trapped in a never-ending chain of repetition and appropriation?
A clever project, based on a profound observations, carefully implemented. And a further proof, that still very young Przemek Kamiński is an excellent new young dancer in the city.
Frank Schmid, kulturradio.de
Stylistically sophisticated costumes, over-aestheticised stage vibe, sound collages of club and pop music, ironic deconstruction of the movement apparatus, rich video projection. Yes, very contemporary. Performers, who are consciously rejecting virtuosity, surrender to their own vulnerability, at the same time embodying a relaxed, cool pose, which sometimes becomes the (undisguised) vanity.
Alexandra Henning, Berliner Zeitung
Fluid or contrasting interfusion and collision of images is the structural basis of the performance. (…) Artists investigate if and how one can affect (infect) other mind-bodies using cultural images of emotions. They become triggers for affective infection. Their collision produces a brilliance of inner movements and associations. Images of passionate, affected, emotionally charged bodies are assembled on a stage montage line. (…) Does recognising quoted sources makes sense? (…) What happens in So Emotional is, after all, equally interesting on a non-referential level, that is, based on visual experience and affective arousal, not resulting from recognising the trace of what is familiar.
Magdalena Zamorska, choreobiota.pl
They [artists] elicit affective reactions of an audience, full of emotional involvement. They draw an audience in a common experience of fleeting joy mixed with longing for the past.
Piotr Ziółkowski, New Critical Force
Katarzyna Szugajew and Maurycy Jan Stankiewicz