Instytut Teatralny im. Zbigniewa Raszewskiego, Krytyka Polityczna and Komuna// Warszawa have the pleasure to invite you to the book launch of „RE//MIX” and the accompanying performance of „Paradise Now? RE//MIX Living Theatre” by Komuna// Warszawa.
The meeting, moderated by Roman Pawłowski, will feature authors of remixes – Weronika Szczawińska and Wojtek Ziemilski as well as the book’s editors – Tomasz Plata and Dorota Sajewska. The debate will be followed by performance of „Paradise Now? RE//MIX Living Theatre” by Komuna// Warszawa.
The event will take place on 27 April at 4:30 pm at w Instytut Teatralny (ul. Jazdów 1, Warszawa).
The book „RE//MIX” summarises the eponymous project initiated and carried out Komuna// Warszawa over the years 2010–2014. The project included four seasons, dozens of premieres by the most interesting artists in many different performing-arts genres from theatre directors to dancers to musicians and composers. The book, edited by Tomasz Plata (who came up with the idea for the cycle) and Dorota Sajewska, provides documentation of the entire project, a set of well-known essays on archiving performance and texts by the classics of performance art. The authors include Yvonne Rainer, Carolee Schneemann, Paweł Demirski, Wojtek Ziemilski, Rebecca Schneider, Philip Auslander, Amelia Jones, Mary Richards, Carrie Lambert. The book is published by Instytut Teatralny im. Zbigniewa Raszewskiego, Komunę// Warszawa and Wydawnictwo Krytyki Politycznej.
In the performance „Paradise Now? RE//MIX Living Theatre” Komuna// Warszawa probes the changes that have taken place in theatre and politics since the premiere of The Living Theatre’s „Paradise Now!” in 1968. The Living Theatre, founded at the end of the 1940s by actress Judith Malina and poet, painter, performer Julian Beck, came to be famous for its uncompromising attitude, avantgarde aesthetics, exploration of corporality and collective working methods. Its shows were radical, carrying an anarchist and pacifist message. The Living Theatre made a significant impact on avantgarde theatre. In the late 1960s the ensemble’s chief objective became the society’s transformation from a competitive, hierarchical institution into a collaborative, coherent human group. The Living Theatre’s performances were to provide an impulse for the coming social transformation.