Choreography and director: Magdalena Radlowska

Music: Alex Judd

Performers: Wanda Radłowska, Genowefa Cichowska, Elwira Michcińska, Elżbieta Grajeta Dulas, Ryszarda Truszkowska, Waleria Lewandowska, Urszula Korzeniowska, Zbigniew Sowiński, Krystyna Bieszczad, Alina Krzewińska, Honorata Łucka, Kazimiera Blach, Alfereda Bułka, Krystyna Czapska, Marianna Kańdzia, Marianna Pisarska, Krystyna Grobelna, Paweł Kuźma, Marta Kanarkiewicz, Agnieszka Bill, Natalia Spaczyńska, Marcelina Stochła, Nastazja Cieciura, Bartosz Nochowicz, Marcin Krauze, Karolina Ślebioda.

Dancers: Dance Theatre Dafka Energii

Video: Performance in Artdepot Theatre in London, March 2010 and Theatre Lalki i Aktora in Wałbrzych, Poland, April 2010

Synopsis: Kom.post portrays the reality of Communism shown from the specific traumatic perspective of everyday people. The performance consists of three acts connected together by a single onerous theme; that of enslavement and subordination. Every dancer is assigned a role as torturer, witness or victim, with each role subjecting the dancer to situations that require solutions. Kom.post awakens the ghosts of Communism, Post-Communism and Capitalism, and re-enacts the forced faith and disblief of the Communism ideology. The senior dancers in the project lived through Communism in Poland, and this piece takes their real-life experiences to illustrate the tyranny, oppression and fear of the regime. The main themes are concealed identity caused by restrictions on personal expression, and personal transformation in a crisis.

The first act begins with the interrogation of two innocent citizens accused to be against the government, and continues with their physical and psychological torture. The audience is introduced to the main character who is a human symbol of dictatorship, power and constraint. Almost devil-like, he controls and entraps the dancers with unnatural power.

In the next act the whole group is attracted to one reality where the main theme is controlling each other by ‚watching the hands’. The fear of the regime forces each dancer to watch everybody else just to save their own life, but in doing so this destroys any innocence and induces paranoia.

The act that follows is a metaphor of the chaos in the political society of Post- Communism. It is a degraded reality where everybody and everything is entangled in the disorder of the past. The dancers party and have fun to try and turn their backs on personal tragedy. But, they have to choose between being honest with themselves or acting as a ‚model citizen’, which brings about renunciation from humanity. The final scene is the end of opening and shows what becomes of the main characters.

The Polish-American company ‚The Association of the Creative initiatives’ awarded Dance Theatre Dafka Energii with income to create a dance project from September 2009 to April 2010. Over this 8-month period, a group of teenagers and seniors were selected to take part in an inter-generational project that would aim to develop a relationship between the young and elderly in dance. The project included a tour to London and generated lots of media interest in Poland, including coverage on the national TV chanel one.

Kom.Post

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