” […,] ”

project: agata siniarska
curator: marta keil

19.11,  20.30
Lychener Str. 60 10437 Berlin

In her latest project […,], Agata Siniarska, an outcome of choreographic and cybernetic experiments, returns from a future where there are no deadlines, open calls, grants, and networkings. In the course of three nights at Komuna//Warszawa, she has shared with the audience her experience of working on the international dance scene from 2007 to 2045. What if we extend the scope of choreography even further? How does it feel to be a body without organs, without being an emerged Scandinavian choreographer? What will be the world in which Trisha Brown forgets her dance and dance forgets Trisha Brown? Why Pina Bausch stage comeback in 2034 caused a momentous catastrophe? Will dancers in the future dream only about electronic accounts as well?

Project co-financed by the Municipality of Warsaw and the Ministry of Culture and National Heritage

Ministerstwo Kultury i Dziedzictwa NarodowegoUrząd m.st. Warszawy




Komuna// Warszawa
“Dune 1961”
Spoken Opera. Fragments

Co-production: Polish Theatre in Bydgoszcz 

Cooperation: Negar Farajian


NEW YORK, Culture Hub / La MaMa Experimental Theatre Club 19:00

16-17 / 12/2015
TEHERAN, 19:00

30-31 / 12/2015
WARSAW, 19:00

Frank Herbert’s “Dune” is one of the twentieth century’s most popular science-fiction novels. It set a new template for the genre, while at the same time transcending it by mixing philosophical discourse and futurologist reflection with a robust plot. Musings on genetics and the survival of mankind in the face of dwindling natural resources are among the novel’s key elements.

Komuna// Warszawa creates a prequel of a kind to “Dune”. Just as in the literary original, the desert is at the heart of the story. Philosophically, the desert is the place of meeting with God, the self, of transformation, of death or a new beginning. In the modern world, the desert is a massive oilfield, the source of wealth and power. But it also threatens annihilation due to water shortages.

Komuna// Warszawa moves among these semantic fields via a particular theatrical form: a spoken opera. What may stretch credibility in a dramatic performance will seem natural in an opera.

Komuna// Warszawa describes a fictitious 1961 visit to Iran by the author of “Dune”. Frank Herbert is sent to the Middle East on a secret mission and arrives in the desert city of Yazd. Waiting for a meeting with a courier, he spends several days there, including three solitary days in the desert. There he undergoes illumination. He sees the possible scenarios of the development of the world. These visions of the future lay the foundation of the literary saga.

Komuna// Warszawa „reconstructs” Herbert’s stay at Yazd. The process of “finding” his traces erases the boundaries between truth and fiction. In the search for the fictitious traces of his visit, we set out in the real desert. And we face the same questions and dilemmas that troubled Frank Herbert in 1961: What is the future? How does our vision of it shape the reality? and simply: What is going to happen?

Komuna// Warszawa makes no attempt at an answer. We show the possible paths, the fragments of ancient teachings still floating across the universe and the contours of new realities looming at the edges of the digital world. The multiplicity of paths and uncertainty are the “fragments” of the show’s title.
The one certainty is that history continues to move forward. The future is open, as we sense with excitement just as explorers would before setting off into the great unknown…


It has been several decades since the premiere of “Paradise Now!”. Its 1968 performance at Avignon sparked off riots and the photos of stark naked actors calling for an anarchist revolution (here and now!) became iconic of that decade’s rebellion. In its remix of this classic performance, Komuna// Warszawa explores what has since changed in theatre and politics. What is the truth of artistic engagement and what is just for show? Does participatory art make sense? In what ways does art fail to change the world? What is paradise – now? Are we any happier for distancing ourselves from the naiveté of hippie slogans? Two years ago, The Living Theatre was evicted from its New York City venue. Judith Malina – its leader – died on 10 April 2015. This marks the end of an era, but also an opportunity to reach back to that classic of political theatre. The performance includes recent footage of Judith Malina, as she talks of paradise and for the last time performs snippets of her role in “Paradise Now!”.

The Living Theatre – an experimental theatre group founded in 1947 in NYC by Judith Malina, the German-born student of Erwin Piscator, and Julian Beck, an abstract expressionist painter. The ensemble was famous for its uncompromising attitude, avant-garde aesthetics, physicality, and collective creation. Their performances were radical both in form and in their anarchist, pacifist message. The Living Theatre significantly affected the avant-garde theatre movement in the world. Their performances introduced in the 1960s the still popular practice of audience participation. The Living Theatre’s work in the 1960s aimed at social transformation from a hierarchical, competitive structure into a cooperative community. Each performance was conceived as a spark for social change.


14.11.2015, 19.00: Komuna// Warszawa 

19.11.2015, 19.00: Culture Hub / La MaMa Experimental Theatre Club New York City

20.11.2015, 18.00: Accompanying conference


18.10.2015:  Maribor Theatre Festival + 20.10.2015: Slovensko mladinsko gledališče, Ljubljana, Slovenia

14-15.10.2015 Tmuna International Festival, Tel Aviv

VIMEO: https://vimeo.com/123078418; password: komuna_2013

Project co-financed by the Municipality of Warsaw and the Ministry of Culture and National Heritage

Ministerstwo Kultury i Dziedzictwa NarodowegoUrząd m.st. Warszawy



RE// MIX – remix as a concept comes from the field of music. More than an interpretation of an existing piece, it may nevertheless contain fragments of the original, but such samples function as quotations. A remix is a new piece, which engages with the original through its form or content, entering into dialogue with it, nostalgically recalling it or finding in it new meanings.
The RE// MIX cycle, produced over 2010–2014 by Komuna//Warszawa, involved new interpretations of classics of avant-garde theatre and dance, but also reached into the fields
of film and literature. These works constitute a kind of a cannon, defining tastes and styles, serving as inspiration or points of reference for contemporary artists invited to participate in the RE// MIX project.
The RE// MIX cycle comprised the creation of over 30 performances by recognised artists or their young, promising colleagues, working in the field of interdisciplinary, experimental theatre that draws on physical theatre, dance, performance and visual art, and social engagement. Among the authors of the remixed works are Marina Abramović, The Wooster Group, Pina Bausch, Trisha Brown, Oskar Schlemmer, Yvonne Rainer, Conrad Drzewiecki, John Cage, Laurie Anderson, Jerzy Grotowski, Akademia Ruchu, Andrzej Żuławski, vladimir Mayakovsky, Jérôme Bel, Robert Wilson, Carolee Schneemann, Fluxus, Bertolt Brecht, Dario Fo, Merce Cunningham, Tadeusz Kantor, Anne Teresa De Keersmaeker and many others.
The RE// MIX cycle attracted extremely favourable reviews with individual performances shown at a number of festivals around Poland and abroad. It has been the subject of two academic theses and a book, and has been recognised as the event of the year in Polish theatre by the country’s leading critics.
The project was initiated and curated by Tomasz Plata.



The cycle revisits/re-discovers diverse figures or events of the recent theatrical past and confronts the contemporary memory of them. Young theatre artists and researchers – archaeologists – uncover the theatre’s “historical heritage” with their own original artistic tools and bring it to light, to the stage, to an audience – thus exploring what has changed.
Dorota Buchwald, Theatre Institute director
The Remix cycle […] is one of the most interesting events in Polish theatre of recent years.
Roman Pawłowski, journalist and theatre critic
“This is definitely one of the most interesting events on the cultural map of Warsaw. (…) The remixes of Komuna are unique!”
Magdalena Zielińska, “Kultura Liberalna”

Karol Radziszewski/Dorota Sajewska: RE// MIX Jerzy Grotowski Edyta Kozak: RE// MIX Jérôme Bel Komuna// Warszawa: “Paradise Now?” RE// MIX Living Theatre Wojtek Ziemilski: RE// MIX “The Poor Theatre”, Wooster Group Łukasz Chotkowski: RE// MIX “The Weavers”, Frank Castorf Marcin Liber: RE// MIX “Mtm”, La Fura dels Baus Komuna// Warszawa: RE// MIX “Radio October”, Mayakovsky Marcin Cecko and Krzysztof Garbaczewski: ”Herb Brecht” RE// MIX Bertolt Brecht Kaya Kołodziejczyk: “KK about ATDK” RE// MIX Anne Teresa De Keersmaeker Weronika Pelczyńska: “Yvonne Yvonne” RE// MIX Yvonne Rainer Zbigniew Szumski/Teatr Cinema: RE// MIX Pina Bausch Ramona Nagabczyńska: “Accumulation” RE// MIX Trisha Brown Alex Baczynski-Jenkins: RE// MIX Triadic Ballet (Oskar Schlemmer) Weronika Szczawińska:
“Two or three things which I know about her“ RE// MIX Lidia Zamkow Akademia Ruchu: RE// MIX John Cage, “Overpopulation and art” Wojtek Ziemilski: RE// MIX Laurie Anderson, “The United States” Iza Szostak: RE// MIX Merce Cunningham Mikołaj Mikołajczyk: “Tomaszewski Project” RE// MIX Henryk Tomaszewski Teatr Strefa Ciszy: RE// MIX Akademia Ruchu, “Bus” Monika Strzępka & Paweł Demirski: “Dario Fo has sent instructions” RE// MIX Dario Fo Marta Ziółek: “Body Eye” RE// MIX Carolee Schneemann Łukasz Chotkowski: “Now” RE// MIX Marina Abramović


„THE FUTURE” (2014-2016) and „THE FUTURE OF THE BODY” (2015) cycles

“The Future” is a 3-year (2014-2016) cycle of artistic events produced by Komuna// Warszawa. According to some sociological and futurological theories, the human kind’s preference for the status quo means that the world will be undergoing an evolution, not a revolution. But there are other options as well: we might build a better world or head for a catastrophe. Ideas, tensions, and processes which will shape the future have probably emerged already.
You only need a visionary’s eye to notice, explore, and name them. It is this kind of reflection that Komuna// Warszawa wants to elicit, asking artists to turn theoretical speculations into artworks, sketch out possibilities, and ask key questions.

The 2014 season was dedicated to the future of Europe and it included:
– “Future Heroes” by Markus Öhrn
– “Europe. An Investigation” by Weronika Pelczyńska, Iza Szostak, Magda Jędra
– “Terry Pratchett. Social Science” by Komuna// Warszawa

The 2015 season focuses on the future of the body and it include:
– „[…,]” by Agata Siniarska
– „Aristocrats” by Łukasz Chotkowski, Magda Hueckel, Tomasz Śliwiński, Stefan Węgłowski 
– “Diuna 1961”  by Komuna// Warszawa

The year 2016 will close and summarize the cycle with the main topics being the real utopias and the world in 2089, when the audience and creators of those productions will be long gone.

“THE FUTURE OF EUROPE” cycle (2014)
In 2014 Poland was celebrating the tenth anniversary of accession to the European Union, an occasion to reflect on the idea of the European community – especially now, amid crisis and a collapse of enthusiasm for the European Union. Together with guest artists we explored possible scenarios for the future of Europe, tormented as it is by the twin crises of democracy and of finance. We considered the consequences of the frustration felt by people pushed to the margins of society. We looked at the possibility of the EU’s collapse and at realistic plans for reconstruction and renewed efflorescence of the European idea.

“THE FUTURE OF THE BODY” cycle (2015)
How does the fusion of information technology and biotechnology change the way we define us as individuals? Or as a species? Will Homo sapiens give way to Homo technologicus? How will this influence our societies? Are these actions only a game the rich play, a new “eugenics”, or the beginning of a new era? What will constitute humanity and the body? What values will post-humanistic ethics cherish?

Project co-financed by the Municipality of Warsaw and the Ministry of Culture and National Heritage

Ministerstwo Kultury i Dziedzictwa NarodowegoUrząd m.st. Warszawy



The preview of the project took place in May 2014, during the international TYPO BERLIN conference. With inspiration ranging from class-B sci-fi movies, traditions of politically engaged graphic design and rock opera, Laszuk again crosses boundaries and poses some basic questions regarding the discipline, obedience and the contemporary world we live in. The premiere of the opera „The Raiders of the Lost Things” will be held on November 23, 2014 at 20:00 in the Stanisław Witkiewicz Studio Theatre, Warsaw during the MANIFEST FEST.


cast: THE RAIDERS OF THE LOST THINGS (Alina Gałązka, Małgorzata Gąsiorowska,
Grzegorz Laszuk, Olga Mysłowska, Bartek Rączkowski)
realised by:
video – Maciej Ostaszewski
light – Karolina Gębska
produced by: MANIFEST FEST, Komuna// Warszawa


Tickets: 30 zł

www.manifestfest.pl, www.teatrstudio.pl