Rozmowa z Ma\u0142gorzat\u0105 Dzier\u017con, <\/b>nowym kierownikiem Baletu Opery Wroc\u0142awskiej<\/b><\/p>\n
Polska artystka mocno zwi\u0105zana z Wielk\u0105 Brytani\u0105, Ma\u0142gorzata Dzier\u017con, wraca po latach do kraju, aby dzieli\u0107 si\u0119 swoim ponad 20-letnim do\u015bwiadczeniem zawodowym z tancerzami Opery Wroc\u0142awskiej. Urodzona gliwiczanka, uko\u0144czy\u0142a Og\u00f3lnokszta\u0142c\u0105c\u0105 Szko\u0142\u0119 Baletow\u0105 w Bytomiu. Jako tancerka spe\u0142nia\u0142a si\u0119 m.in na scenach Danii, Singapuru, Szwecji, Wielkiej Brytanii \u2013 jej talent wyr\u00f3\u017cnili brytyjscy krytycy, przyznaj\u0105c m.in nominacje do nagrody National Dance Critics Circle Awards dla Najlepszej Tancerki w kategorii Modern.<\/strong><\/p>\n Nowa kierownik zdoby\u0142a tytu\u0142 magistra choreografii na londy\u0144skim Trinity Laban Conservatoire of Music and Dance. Wyst\u0119powa\u0142a w baletach zar\u00f3wno wsp\u00f3\u0142czesnych, jak i klasycznych, ta\u0144cz\u0105c choreografie Petipy, Bournonville\u2019a, Nureyeva; w repertuarze neoklasycznym mierzy\u0142a si\u0119 m.in. <\/strong> Rozmow\u0119 z Ma\u0142gorzat\u0105 Dzier\u017con<\/b> na temat jej kariery zawodowej oraz o planach i marzeniach zwi\u0105zanych z nowo powierzonym stanowiskiem kierownika Baletu Opery Wroc\u0142awskiej przeprowadzi\u0142a Anna Kowalska.<\/b><\/p>\n Pani \u017cyciorys wskazuje na to, \u017ce jest Pani zakorzeniona w Wielkiej Brytanii. Co by\u0142o impulsem do tak du\u017cej rewolucji w Pani \u017cyciu \u2013 powrotu do kraju i podj\u0119cia wsp\u00f3\u0142pracy z Oper\u0105 Wroc\u0142awsk\u0105?\u00a0<\/span><\/b><\/p>\n Faktycznie od uko\u0144czenia Szko\u0142y Baletowej w Bytomiu \u2013 ju\u017c ponad \u0107wier\u0107 wieku temu \u2013 by\u0142o niewiele okazji do spotka\u0144 na scenach polskich. Mieszka\u0142am i pracowa\u0142am g\u0142\u00f3wnie w Skandynawii,\u00a0 <\/span>a od 2006 roku w Wielkiej Brytanii. M\u00f3j czas wype\u0142niony by\u0142 prac\u0105 nad bie\u017c\u0105cym repertuarem zespo\u0142\u00f3w, w kt\u00f3rych by\u0142am zaanga\u017cowana, a od kilku lat r\u00f3wnie\u017c tworzeniem moich w\u0142asnych projekt\u00f3w w Anglii. Cztery lata temu zosta\u0142am zaproszona jako go\u015bcinny choreograf do programu Open Door. Wtedy mia\u0142am okazj\u0119 po raz pierwszy wsp\u00f3\u0142pracowa\u0107 z zespo\u0142em Baletu Opery Wroc\u0142awskiej i by\u0142am pod du\u017cym wra\u017ceniem mo\u017cliwo\u015bci zespo\u0142u, teatru i samego Wroc\u0142awia.\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span>Od wielu lat poszerzam moje zainteresowania jako choreograf, pedagog, producent ta\u0144ca. Gdy dowiedzia\u0142am si\u0119, \u017ce jest otwarty konkurs na rol\u0119 kierownika baletu we Wroc\u0142awiu, zauwa\u017cy\u0142am mo\u017cliwo\u015b\u0107 po\u0142\u0105czenia wielu moich aktualnych zawodowych aspiracji. Ciesz\u0119 si\u0119, \u017ce po latach mam szans\u0119 podzieli\u0107 si\u0119 moim do\u015bwiadczeniem z tutejszym zespo\u0142em, tak niedaleko mojego rodzinnego miasta, kt\u00f3rym s\u0105 Gliwice. Jest to z pewno\u015bci\u0105 du\u017ca zmiana w \u017cyciu osobistym, ale czuj\u0119 si\u0119 tutaj bardzo serdecznie przyj\u0119ta i nie mam w\u0105tpliwo\u015bci, \u017ce prawdziwe przyja\u017anie przetrwaj\u0105 ponad pa\u0144stwowymi granicami, a we Wroc\u0142awiu z pewno\u015bci\u0105 uda si\u0119 nawi\u0105za\u0107 wiele nowych.<\/p>\n Zanim pom\u00f3wimy o tera\u017aniejszo\u015bci i przysz\u0142o\u015bci, zajrzymy w przesz\u0142o\u015b\u0107: jak wspomina Pani lata szkolne i nauk\u0119 zawodu? Jakie do\u015bwiadczenia mia\u0142y najwi\u0119kszy wp\u0142yw na kszta\u0142towanie Pani osobowo\u015bci artystycznej?\u00a0<\/span><\/b><\/p>\n Du\u017cy wp\u0142yw na moje \u017cycie artystyczne mia\u0142a tw\u00f3rczo\u015b\u0107 \u015al\u0105skiego Teatru Ta\u0144ca, kt\u00f3ry poszerzy\u0142 moj\u0105 \u015bwiadomo\u015b\u0107 w zakresie techniki oraz wsp\u00f3\u0142czesnych pr\u0105d\u00f3w artystycznych. Taniec klasyczny jest dla mnie nieustaj\u0105cym \u017ar\u00f3d\u0142em inspiracji i rzemios\u0142a artystycznego, kt\u00f3ry traktuj\u0119 jako baz\u0119 wyj\u015bciow\u0105 do nowych wyzwa\u0144. Z poszanowaniem dla tej tradycji moje zainteresowania artystyczne i wizja zespo\u0142u s\u0105 jednak mocno osadzone w tera\u017aniejszo\u015bci. Poszukuj\u0119 tw\u00f3rc\u00f3w, nowej publiczno\u015bci i zrozumienia dla tego, co sztuka ta\u0144ca ma dzi\u015b do zaoferowania.<\/p>\n Ta\u0144czy\u0142a Pani na wielu renomowanych scenach z zespo\u0142ami: Royal Danish Ballet, Peter Schaufuss Ballet, Singapore Dance Theater, Gothenburg Ballet (<\/b>G\u00f6teborgsOperans Danskompani)<\/b><\/span>, Rambert, wsp\u00f3\u0142pracuj\u0105c z wybitnymi postaciami ta\u0144ca. Czy czuje si\u0119 Pani spe\u0142niona jako tancerka?\u00a0<\/span><\/b><\/p>\n Moja kariera to stopniowe przej\u015bcie od repertuaru \u015bci\u015ble baletowego przez wsp\u00f3\u0142prac\u0119 z zespo\u0142ami oferuj\u0105cymi pozycje neoklasyczne i wsp\u00f3\u0142czesne, a\u017c po skupienie si\u0119 na rolach cz\u0119sto tworzonych ze mn\u0105 w londy\u0144skim Rambert. To najstarszy zesp\u00f3\u0142 ta\u0144ca w Wielkiej Brytanii i r\u00f3wnie\u017c najwi\u0119kszy zesp\u00f3\u0142 ta\u0144ca wsp\u00f3\u0142czesnego w tym kraju za\u0142o\u017cony przez Polk\u0119, Marie Rambert w 1926 roku.\u00a0<\/span><\/p>\n My\u015bl\u0119, \u017ce ka\u017cda zmiana zespo\u0142u jest impulsem do rozwoju. Kt\u00f3re momenty z Pani kariery uwa\u017ca Pani za prze\u0142omowe?<\/b><\/p>\n By\u0142o wiele moment\u00f3w w mojej karierze, kt\u00f3rych nigdy nie zapomn\u0119, np. wyst\u0119py go\u015bcinne \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span>z Kr\u00f3lewskim Baletem Danii na deskach Opery Paryskiej czy satysfakcja z mo\u017cliwo\u015bci odtworzenia choreografii \u015bwiatowej s\u0142awy tw\u00f3rc\u00f3w. Jednak te momenty s\u0105 ulotne. Najbardziej ceni\u0142am wsp\u00f3lne projekty i tworzenie czego\u015b od podstaw \u2013 to proces, kt\u00f3ry mo\u017cliwy jest, gdy nad now\u0105 produkcj\u0105 pracujemy bezpo\u015brednio z choreografami i zespo\u0142em realizator\u00f3w.<\/p>\n Jakie osobowo\u015bci mia\u0142y wp\u0142yw na Pani taneczny \u015bwiatopogl\u0105d?<\/b><\/p>\n My\u015bl\u0119, \u017ce pod\u015bwiadomie pod\u0105\u017ca\u0142am tropem Marie Rambert, kt\u00f3ra zawsze dostrzega\u0142a i tworzy\u0142a nowe mo\u017cliwo\u015bci dla siebie, dla zespo\u0142u i dla sztuki. Na mojej drodze spotka\u0142am wielu tw\u00f3rc\u00f3w, z kt\u00f3rymi naprawd\u0119 wspaniale si\u0119 wsp\u00f3\u0142pracowa\u0142o i do kt\u00f3rych mam nadziej\u0119, \u017ce powr\u00f3c\u0119 ju\u017c w nowej roli kierownika baletu.<\/p>\n Od wielu lat spe\u0142nia si\u0119 Pani jako wykszta\u0142cony choreograf oraz pedagog ta\u0144ca. By\u0142a Pani producentem kilku du\u017cych projekt\u00f3w tanecznych na terenie Wielkiej Brytanii, m.in. z zespo\u0142em <\/b>New Movement Collective<\/b><\/span>, a tak\u017ce konsultantem w londy\u0144skiej Architectural Association; wsp\u00f3\u0142prowadzi\u0142a Pani r\u00f3wnie\u017c z zespo\u0142em Fertile Ground w Newcastle. W kt\u00f3rym momencie zapad\u0142a decyzja o tym, \u017ce chce Pani tworzy\u0107 w\u0142asne dzie\u0142a?\u00a0<\/span><\/b><\/p>\n Kiedy zacz\u0119\u0142am wsp\u00f3\u0142tworzy\u0107 r\u00f3\u017cne role jako tancerka, dostrzeg\u0142am, \u017ce potrafi\u0119 i lubi\u0119 czerpa\u0107 ze swojej wyobra\u017ani ruchowej, a moje pomys\u0142y s\u0105 wykorzystywane. Pierwsze kroki jako choreograf stawia\u0142am jeszcze w Szwecji na warsztatach choreograficznych. P\u00f3\u017aniej w Rambert mieli\u015bmy troch\u0119 bardziej rozwini\u0119te mo\u017cliwo\u015bci i programy dla aspiruj\u0105cych choreograf\u00f3w. Z czasem te zainteresowania zacz\u0119\u0142y przewa\u017ca\u0107 \u2013 w 2013 roku zdecydowa\u0142am si\u0119 odej\u015b\u0107 z zespo\u0142u jako tancerka \u00a0 \u00a0 <\/span>i kontynuowa\u0107 swoj\u0105 drog\u0119 jako tw\u00f3rca niezale\u017cny. Wr\u00f3ci\u0142am do Rambert w 2016 roku, by stworzy\u0107 choreografi\u0119 do g\u0142\u00f3wnego repertuaru zespo\u0142u.\u00a0 <\/span>Praca na t\u0119 skal\u0119 z grup\u0105 tancerzy, kt\u00f3rych jeszcze dobrze zna\u0142am jako kole\u017canki i koleg\u00f3w, by\u0142a dla mnie ogromnym wyr\u00f3\u017cnieniem.<\/p>\n Jako pedagog wsp\u00f3\u0142pracuj\u0119 z wieloma instytucjami, gdzie mog\u0119 dzieli\u0107 si\u0119 moim do\u015bwiadczeniem, zach\u0119ca\u0107 m\u0142odych ludzi do samorozwoju, pr\u00f3bowa\u0107 nowych pomys\u0142\u00f3w i tworzy\u0107 kr\u00f3tsze formy choreograficzne.\u00a0<\/span><\/p>\n Sk\u0105d pochodz\u0105 inspiracje, kt\u00f3re pozwoli\u0142y Pani wykszta\u0142ci\u0107 w\u0142asny j\u0119zyk artystyczny?<\/b><\/p>\n Bywa, \u017ce inspiracje pochodz\u0105 z jakich\u015b prze\u0142omowych \u017cyciowych do\u015bwiadcze\u0144. Ka\u017cdy spektakl to jest wielowarstwowy mikrokosmos emocji. Pojawiaj\u0105 si\u0119 w nim odniesienia do przeczytanych ksi\u0105\u017cek, do miejsc, w kt\u00f3rych si\u0119 by\u0142o, do poznanych ludzi, do szeregu do\u015bwiadcze\u0144 \u2013 zar\u00f3wno moich, jak i tancerzy oraz realizator\u00f3w, z kt\u00f3rymi t\u0119 sztuk\u0119 tworz\u0119. Warto pami\u0119ta\u0107, \u017ce spektakle taneczne to spotkanie wielu r\u00f3\u017cnych form artystycznych, z kt\u00f3rych r\u00f3wnie\u017c czerpi\u0119 inspiracje.<\/p>\n Jak wygl\u0105da zatem Pani proces tw\u00f3rczy? Jakie ma Pani oczekiwania wobec tancerzy, Wiele zale\u017cy od samych tancerzy i warunk\u00f3w, w jakich si\u0119 znajdujemy. Zazwyczaj sporo czasu sp\u0119dzam na zbieraniu inspiruj\u0105cego materia\u0142u. M\u00f3wi\u0119 tutaj \u015bci\u015ble o materia\u0142ach spoza sfery ta\u0144ca, co pozwala mi unikn\u0105\u0107 powielania \u015bwiadomie czy pod\u015bwiadomie pomys\u0142\u00f3w innych choreograf\u00f3w. Do ka\u017cdej cz\u0119\u015bci spektaklu przygotowuj\u0119 r\u00f3wnie\u017c pewn\u0105 baz\u0119 j\u0119zyka choreografii, mo\u017ce to by\u0107 mniej lub bardziej rozwini\u0119ty w\u0105tek \u2013 punkt wyj\u015bciowy, kt\u00f3ry p\u00f3\u017aniej przekazuj\u0119 i rozwijam wsp\u00f3lnie z tancerzami. Oni te\u017c maj\u0105 tu sw\u00f3j g\u0142os i wp\u0142yw na kszta\u0142t spektaklu. Z muzyk\u0105 dzia\u0142am na wiele r\u00f3\u017cnych sposob\u00f3w, cz\u0119sto we wsp\u00f3\u0142pracy z kompozytorami. Bywa, \u017ce jest to pewnego rodzaju ping pong: rozwijamy swoje kompozycje r\u00f3wnolegle, wychodz\u0105c z jakiego\u015b wsp\u00f3lnego punktu. Zdarzaj\u0105 si\u0119 r\u00f3wnie\u017c odst\u0119pstwa, czego ciekawym przyk\u0142adem mo\u017ce by\u0107 moja ostatnia choreografia \u2013 film pod tytu\u0142em Somnium<\/i>, inspirowany snami i pod\u015bwiadomo\u015bci\u0105. Oryginalnie choreografia zosta\u0142a stworzona do naszej wsp\u00f3lnej inspiracji muzycznej, kt\u00f3r\u0105 by\u0142o Popo\u0142udnie Fauna.<\/i> Kompozytor, z kt\u00f3rym wsp\u00f3\u0142pracowa\u0142am, Oliver Coates, dopiero po nagraniu tego filmu i stworzeniu animacji opracowa\u0142 ostateczn\u0105 warstw\u0119 muzyczn\u0105, kt\u00f3ra jest teraz wykorzystana i w filmie, i w spektaklu.<\/p>\n Kiedy mo\u017cemy spodziewa\u0107 si\u0119 nowej choreografii stworzonej dla tancerzy Opery Wroc\u0142awskiej?<\/b> Jakim j\u0119zykiem chce si\u0119 Pani komunikowa\u0107 z widowni\u0105 Opery Wroc\u0142awskiej?<\/b>\u00a0<\/span><\/span><\/p>\n M\u00f3j warsztat i j\u0119zyk ruchowy to po\u0142\u0105czenie zawodowych oraz \u017cyciowych do\u015bwiadcze\u0144, a tak\u017ce styl\u00f3w, kt\u00f3re pozna\u0142am \u2013 w tym r\u00f3wnie\u017c ta\u0144ca klasycznego (samych Dziadk\u00f3w do orzech\u00f3w<\/i> ta\u0144czy\u0142am cztery r\u00f3\u017cne wersje). Jest to po\u0142\u0105czenie do\u015bwiadcze\u0144 z w\u0142asnymi mo\u017cliwo\u015bciami ruchowymi i sposobem, w jaki moje cia\u0142o odpowiada na inspiruj\u0105ce mnie bod\u017ace. Pracuj\u0105c z tancerzami, staram si\u0119 poszerzy\u0107 ich wachlarz mo\u017cliwo\u015bci technicznych i zach\u0119ci\u0107 ich, by zaufali w\u0142asnej intuicji ruchowej. B\u0119d\u0119 si\u0119 stara\u0107, aby w tych nowych kreacjach stworzonych ze mn\u0105, czy Jak ocenia Pani mo\u017cliwo\u015bci techniczne sceny Opery Wroc\u0142awskiej? Czy my\u015bla\u0142a Pani ju\u017c, jak mo\u017cna wykorzysta\u0107 jej mo\u017cliwo\u015bci?<\/b><\/p>\n W przesz\u0142o\u015bci pracowa\u0142am w du\u017cych teatrach operowych, w budynkach z d\u0142ugimi tradycjami oraz na nowoczesnych scenach. Jednak przez ostatnich pi\u0119tna\u015bcie lat wiele spektakli, w kt\u00f3rych bra\u0142am udzia\u0142, by\u0142o tworzonych z my\u015bl\u0105 o tourn\u00e9<\/span>e. Z kolei produkcje, kt\u00f3re tworzy\u0142am z New Movement Collective jako producent, to cz\u0119sto tzw. site-specific, w kt\u00f3rych trzeba by\u0142o odpowiedzie\u0107 na mo\u017cliwo\u015bci budynku, cz\u0119sto tworz\u0105c infrastruktur\u0119 techniczn\u0105 od podstaw. Widzia\u0142am na naszej scenie we Wroc\u0142awiu ju\u017c kilka spektakli operowych i baletowych. Wspaniale, \u017ce mamy do dyspozycji na co dzie\u0144 tak ogromne zaplecze i mo\u017cliwo\u015bci techniczne, kt\u00f3re chcia\u0142abym w przysz\u0142o\u015bci wykorzysta\u0107, jak r\u00f3wnie\u017c do\u015bwiadczenie naszych pracownik\u00f3w i realizator\u00f3w.<\/p>\n Balet Opery Wroc\u0142awskiej sk\u0142ada si\u0119 z tancerzy r\u00f3\u017cnej narodowo\u015bci, posiadaj\u0105cy r\u00f3\u017cne do\u015bwiadczenia oraz warunki fizyczne. Ka\u017cdy cz\u0142onek zespo\u0142u ma w sobie co\u015b wyj\u0105tkowego. Wydaje si\u0119, \u017ce istnieje tu du\u017ce zapotrzebowanie na inspiruj\u0105c\u0105 prac\u0119 i stabilno\u015b\u0107 w sposobie prowadzenia zespo\u0142u\u2026<\/b><\/p>\n Jest to dopiero pocz\u0105tek naszej wsp\u00f3\u0142pracy z zespo\u0142em. Nadal si\u0119 poznajemy: obserwuj\u0119 lekcje, pr\u00f3by, sama prowadz\u0119 zaj\u0119cia oraz rozmowy. Mamy zesp\u00f3\u0142 tancerzy z szerokim wachlarzem do\u015bwiadcze\u0144, umiej\u0119tno\u015bci i osobowo\u015bci. To ludzie utalentowani, ambitni oraz gotowi, by rzuci\u0107 si\u0119 wir pracy. \u0141\u0105czy nas cel tworzenia sztuki, kt\u00f3ra przemawia, porusza, i inspiruje oraz kt\u00f3ra mo\u017ce by\u0107 zar\u00f3wno zwierciad\u0142em, jaki r\u00f3wnie\u017c odskoczni\u0105 od codzienno\u015bci; oczekuj\u0119, \u017ce w\u015br\u00f3d tak du\u017cej i r\u00f3\u017cnorodnej grupy tancerzy z pewno\u015bci\u0105 b\u0119dzie wiele opinii, jak te wsp\u00f3lne cele osi\u0105gn\u0105\u0107. Nie zawsze we wszystkim trzeba si\u0119 zgodzi\u0107, ale zale\u017cy mi na szacunku, na dobrej komunikacji i na wzajemnym zaufaniu. To dla mnie podstawa wsp\u00f3\u0142pracy.<\/p>\n Jakie wi\u0119c wyda ona owoce? Jakiego typu repertuar chce Pani zaprezentowa\u0107 we Wroc\u0142awiu?<\/b><\/p>\n Czerpiemy z bogatej spu\u015bcizny ta\u0144ca klasycznego. Pragn\u0119 kontynuacji tych artystycznych tradycji, jednocze\u015bnie zale\u017cy mi, by \u0142\u0105czy\u0142o si\u0119 to ze zrozumieniem wsp\u00f3\u0142czesnego \u015bwiata i z uwzgl\u0119dnieniem to\u017csamej mu estetyki. Wa\u017cne jest to, co my pozostawimy kolejnym pokoleniom. Naszym zadaniem jest dalszy rozw\u00f3j sztuki ta\u0144ca. Osi\u0105gniemy to, stwarzaj\u0105c najlepsze warunki dla tancerzy, choreograf\u00f3w, pedagog\u00f3w i ca\u0142ej kadry pracuj\u0105cej z nami w Operze Wroc\u0142awskiej, bez kt\u00f3rych spektakle nie mog\u0142yby si\u0119 odby\u0107. Moim zdaniem wa\u017cnym zadaniem kierownika baletu jest \u015bwiadomo\u015b\u0107 wsp\u00f3\u0142czesno\u015bci, popularyzacja nowych technik, poszanowanie dla bogactwa szeroko rozumianych kultur tanecznych z ca\u0142ego \u015bwiata. Balet Opery Wroc\u0142awskiej jest cz\u0119\u015bci\u0105 globalnej artystycznej rodziny, w kt\u00f3rej chcemy zaj\u0105\u0107 miejsce z pe\u0142n\u0105 \u015bwiadomo\u015bci\u0105 w\u0142asnej warto\u015bci, jak i otwarciem na nowe wyzwania, wp\u0142ywy i do\u015bwiadczenia artystyczne. Interesuje mnie taniec jako \u017cywa sztuka, do kt\u00f3rej mo\u017ce si\u0119 odnie\u015b\u0107 i w kt\u00f3r\u0105 mo\u017ce si\u0119 w\u0142\u0105czy\u0107 publiczno\u015b\u0107 w ka\u017cdym wieku.<\/p>\n Kt\u00f3re zwyczaje i elementy kultury pracy zespo\u0142\u00f3w, z kt\u00f3rymi Pani wsp\u00f3\u0142pracowa\u0142a, chcia\u0142aby Pani wprowadzi\u0107 do naszego zespo\u0142u baletowego?<\/b><\/p>\n To przede wszystkim dzia\u0142ania, kt\u00f3re sprawi\u0105, \u017ce zesp\u00f3\u0142 b\u0119dzie gotowy do podj\u0119cia repertuarowych wyzwa\u0144 i sprostania rosn\u0105cym oczekiwaniom w zakresie techniki ta\u0144ca i kreatywno\u015bci. B\u0119d\u0105 to r\u00f3wnie\u017c zaj\u0119cia, kt\u00f3re podnosz\u0105 \u015bwiadomo\u015b\u0107, jak skutecznie zapobiega\u0107 kontuzjom oraz jak dba\u0107 o form\u0119 fizyczn\u0105 i psychiczn\u0105. Wa\u017cne s\u0105 do\u015bwiadczenia, kt\u00f3re wp\u0142ywaj\u0105 na wzrost poczucia samorealizacji nie tylko w roli tancerza, ale r\u00f3wnie\u017c dotycz\u0105ce rozwoju przysz\u0142ej kariery np. jako pedagog lub choreograf. W tym celu chcia\u0142abym ponownie si\u0119gn\u0105\u0107 do program Open Door, w kt\u00f3rym zesp\u00f3\u0142 mo\u017ce spr\u00f3bowa\u0107 si\u0119 w nowych rolach.<\/p>\n Jakie s\u0105 Pani oczekiwania wzgl\u0119dem naszych artyst\u00f3w?<\/b><\/p>\n Chcia\u0142abym, aby tancerze czerpali z tworzonych dla nich mo\u017cliwo\u015bci, by mieli ambicje, wytrwa\u0142o\u015b\u0107\u00a0 \u00a0 <\/span>i umiej\u0119tno\u015b\u0107 wsp\u00f3\u0142pracy ze mn\u0105 i reszt\u0105 zespo\u0142u \u2013 nie tylko baletowego, ale ca\u0142ej Opery jako instytucji.\u00a0<\/span><\/span><\/p>\n Jak wed\u0142ug Pani aspiracji i marze\u0144 b\u0119dzie wygl\u0105da\u0142 zesp\u00f3\u0142 Baletu Opery Wroc\u0142awskiej za kilka lat?<\/b><\/p>\n Moim marzeniem jest, aby Balet Opery Wroc\u0142awskiej sta\u0142 si\u0119 wizyt\u00f3wk\u0105 miasta. Chcia\u0142abym, by przyje\u017cd\u017cali do nas najciekawsi \u015bwiatowi arty\u015bci, wystawiaj\u0105c spektakle, kt\u00f3rych do tej pory nie mieli\u015bmy mo\u017cliwo\u015bci ogl\u0105da\u0107 w Polsce. Jednak przede wszystkim pragn\u0119, aby\u015bmy mogli wypracowa\u0107 w\u0142asn\u0105 artystyczn\u0105 to\u017csamo\u015b\u0107, odzwierciedlaj\u0105c\u0105 nasz zesp\u00f3\u0142 i nasz\u0105 wroc\u0142awsk\u0105 publiczno\u015b\u0107; chc\u0119 stworzy\u0107 wyj\u0105tkow\u0105 ofert\u0119, dla kt\u00f3rej przyje\u017cd\u017ca si\u0119 do Wroc\u0142awia oraz dla kt\u00f3rej zaprasza si\u0119 nasz zesp\u00f3\u0142 na sceny polskie i zagraniczne. Ponadto chcia\u0142abym, aby ka\u017cda indywidualna artystyczna wsp\u00f3\u0142praca z nami \u2013 czy to na jeden sezon, czy na pi\u0119\u0107 lat, czy na ca\u0142e \u017cycie \u2013 by\u0142a tw\u00f3rczym, rozwijaj\u0105cym i niezapomnianym do\u015bwiadczeniem.<\/p>\n Mam nadziej\u0119, \u017ce wszystkie te marzenia wkr\u00f3tce si\u0119 spe\u0142ni\u0105. Pi\u0119knie dzi\u0119kuj\u0119 za rozmow\u0119.<\/b><\/p>\n Rozmawia\u0142a Anna Kowalska<\/i><\/p>\n <\/p>\n What is important is what we leave to the next generation: <\/i>Ma\u0142gorzata Dzier\u017con\u00a0<\/span><\/b><\/p>\n New head of the Wroc\u0142aw Opera House Ballet<\/b><\/p>\n A Polish artist with strong ties to the UK, Malgorzata Dzier\u017con is returning to the country after years to share her more than 20 years of professional experience with the dancers of Wroc\u0142aw Opera House. Born in Gliwice, she graduated from the General Ballet School in Bytom. As a dancer, she has fulfilled herself on the stages of Denmark, Singapore, Sweden and the UK, among others – her talent has been recognized by British critics, including nominations for the National Dance Critics Circle Awards for Best Dancer in the Modern category.<\/strong><\/p>\n The new head earned a master’s degree in choreography from London’s Trinity Laban Conservatoire of Music and Dance. She has performed in both contemporary and classical ballets, dancing choreographies by Petipa, Bournonville, Nureyev; in the neoclassical repertoire, she has measured herself against, among others.\u00a0<\/span><\/strong><\/p>\n With creations by Balanchine, Forsythe, Neumeier, McGregor, among others. Her work has been shown in many cultural institutions in the UK and Poland, among others. She is an author and producer of dance and multimedia projects, and as an educator she has collaborated with internationally significant dance institutions such as the Royal Ballet School, Royal Academy of Dance, English National Ballet, Rambert School, Central School of Ballet, Hong Kong Academy for Performing Arts. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/span><\/strong><\/p>\n As of 2018, she co-leads the Fertile Ground company in Newcastle.<\/strong><\/p>\n Anna Kowalska interviewed Ma\u0142gorzata Dzier\u017con about her career and her plans and dreams for her newly appointed position as head of the Wroc\u0142aw Opera House Ballet.<\/p>\n Your resume indicates that you are rooted in the UK. What was the impetus for such a major revolution in your life – returning to the country and working with the Wroc\u0142aw Opera House?<\/b><\/p>\n In fact, since graduating from the Bytom Ballet School – over a quarter of a century ago – there have been few opportunities to meet on Polish stages. I lived and worked mainly in Scandinavia, and since 2006 in the UK. My time was filled with working on the current repertoire of the ensembles in which I was involved, and for the last few years also creating my own projects in England. Four years ago I was invited as a guest choreographer to the Open Door program. At that time I had the opportunity to work with the Wroc\u0142aw Opera Ballet company for the first time, and I was very impressed with the capabilities of the company, the theater and Wroc\u0142aw itself.<\/p>\n For many years I have been expanding my interests as a choreographer, educator, and dance producer. When I learned that there was an open competition for the role of ballet director in Wroclaw, I saw an opportunity to combine many of my current professional aspirations. I’m glad that years later I have a chance to share my experience with a local institution, so close to my hometown Gliwice. This is certainly a big change in my personal life, but I feel very warmly welcomed here, and I have no doubt that true friendships will endure across national boundaries, and many new ones will certainly be made in Wroclaw.<\/p>\n Before we talk about the present and the future, let’s look into the past: how do you recall your school years and apprenticeship? What experiences had the greatest impact on the formation of your artistic personality?<\/b><\/p>\n My artistic life has been greatly influenced by the work of Silesian Dance Theater, which has broadened my awareness of technique and contemporary artistic currents. For me, classical dance is a constant source of inspiration and artistic craftsmanship, which I treat as a starting point for new challenges. With respect for this tradition, however, my artistic interests and vision for the company are firmly rooted in the present. I seek out creators, new audiences and an understanding of what the art of dance has to offer today.<\/p>\n You have danced on many renowned stages with companies: Royal Danish Ballet, Peter Schaufuss Ballet, Singapore Dance Theater, Gothenburg Ballet (G\u00f6teborgs Operans Danskompani), Rambert, working with prominent dance figures. Do you feel fulfilled as a dancer?<\/b><\/p>\n My career has been a gradual transition from strictly ballet repertoire through working with ensembles offering neo-classical and contemporary pieces, that are focusing on roles, often created with me, at London’s Rambert. It is the oldest dance ensamble in the UK and also the largest modern dance enseble in the country, founded by a Polish woman, Marie Rambert, in 1926.<\/p>\n I think that any change in the team is an impulse for development. Which moments from your career do you consider to be breakthroughs?<\/b><\/p>\n There have been many moments in my career that I will never forget, such as guest performances with the Royal Ballet of Denmark at the Paris Opera House or the satisfaction of being able to recreate choreography by world-renowned artists. However, these moments are fleeting. What I valued most were collaborative projects and creating something from scratch – a process that is possible when we work directly with choreographers and the production team on a new production.<\/p>\n What personalities influenced your dancing word view?<\/b><\/p>\n I think I subconsciously followed in the footsteps of Marie Rambert, who was always seeing and creating new opportunities for herself, for the ensemble and for the arts. On my way I met many artists with whom it was truly wonderful to collaborate and whom I hope to return to again in my new role as ballet head.<\/p>\n You have been fulfilling yourself as a trained choreographer and dance educator for many years. You have been a producer of several major dance projects in the UK, including with the New Movement Collective, as well as a consultant to the Architectural Association in London; you also co-lead with the Fertile Ground company in Newcastle. At what point was the decision made that you wanted to create your own works?<\/b><\/p>\n When I started to co-create different roles as a dancer, I noticed that I could and liked to draw on my movement imagination, and my ideas were used. I took my first steps as a choreographer while I was still in Sweden at a choreography workshop. Later, at Rambert, we had some more developed opportunities and programs for aspiring choreographers. Over time, these interests began to prevail – in 2013 I decided to leave the company as a dancer and continue my path as an independent artist. I returned to Rambert in 2016 to create choreography for the ensemble’s main repertory.\u00a0 <\/span>Working on this scale with a group of dancers I still knew well as colleagues was a huge honor for me.<\/p>\n As an educator, I work with many institutions where I can share my experience, encourage young people’s self-development, try new ideas and create shorter choreographic forms.<\/p>\n Where did the inspiration come from that allowed you to develop your own artistic language?<\/b><\/p>\n Sometimes the inspiration comes from some landmark life experience. Each performance is a multi-layered microcosm of emotions. There are references to books I have read, to places where I have been, to people I have met, a range of experiences – both mine and those of the dancers and performers with whom I create this art. It is worth remembering that dance performances are a meeting of many different artistic forms, from which I also draw inspiration.<\/p>\n So what does your creative process look like? What expectations do you have of the dancers with whom you work? Are they only a tool reflecting the choreographer’s vision or do they take an active part in the creative process having an impact on the final look of the choreography?<\/b><\/p>\n A lot depends on the dancers themselves and the conditions they are in. I usually spend a lot of time collecting inspiring material. I’m strictly talking about material outside the realm of dance, which allows me to avoid duplicating consciously or subconsciously the ideas of other choreographers. For each part of the performance I also prepare a certain base of the language of choreography, it can be a more or less developed theme – a starting point, which I later convey and develop together with the dancers. They, too, have a voice and influence on the shape of the performance here. I work with music in many different ways, often in collaboration with composers. Sometimes it is a kind of ping pong: we develop our compositions in parallel, starting from some common point. There are also deviations, an interesting example of which is my latest choreography – a film called Somnium, inspired by dreams and the subconscious. The original choreography was created for our common musical inspiration, which was Afternoon of a Faun. The composer with whom I collaborated, Oliver Coates, only developed the final musical layer after recording that film and creating the animation, which is now used in both the film and the performance.<\/p>\n When can we expect new choreography created for the dancers of\u00a0 <\/span>the Wroc\u0142aw Opera House? What language do you want to communicate with the audience of the Wroc\u0142aw Opera House?<\/b><\/p>\n My workshop and movement language is a combination of professional and life experiences, as well as styles I’ve learned – including classical dance (I’ve danced four different versions of the Nutcrackers alone). It’s a combination of experiences with my own movement abilities and the way my body responds to the stimuli that inspire me. When working with dancers, I try to expand their range of technical possibilities and encourage them to trust their own movement intuition. I will try to make sure that in these new creations created with me or with other choreographers, they can emerge as dancers and co-creators, and that they can prove themselves as choreographers in programs such as Open Door. Returning to the repertoire, we are currently in the process of establishing new proposals, including an invitation for me to work with the Wroc\u0142aw Opera House ensemble, which I am delighted about.<\/p>\n How do you assess the technical capabilities of the Wroclaw Opera House stage? Have you already thought about how its capabilities can be used?<\/b><\/p>\n In the past, I have worked in large opera houses, in buildings with long traditions and on modern stages. However, over the past fifteen years, many of the productions I have been involved in have been created with touring in mind. In contrast, the productions I’ve created with New Movement Collective as a producer are often so-called site-specific, in which we had to respond to the capabilities of the building, often creating the technical structure from scratch. I have already seen several opera and ballet performances on our stage in Wroclaw. It’s great that we have such huge facilities and technical capabilities at our disposal on a daily basis, which I would like to use in the future, as well as the experience of our staff and producers.<\/p>\n The Ballet of the Wroclaw Opera House consists of dancers of different nationalities, with different experiences and physical conditions. Each member of the ensemble has something unique about them. There seems to be a great need here for inspiring work and stability in the way the company is run….<\/b><\/p>\n This is just the beginning of our cooperation with the ensemble. We are still getting to know each other: I observe lessons, rehearsals, conduct classes and talks myself. We have a team of dancers with a wide range of experience, skills and personalities. These are people who are talented, ambitious and ready to throw themselves into work. We are united by the goal of creating art that speaks, moves, and inspires, and that can be both a mirror and a respite from everyday life; I expect that among such a large and diverse group of dancers there are bound to be many opinions on how to achieve these common goals. It is not always necessary to agree on everything, but I care about respect, good communication and mutual trust. This is the basis of cooperation for me.<\/p>\n So what kind of results will it produce? What kind of repertoire do you want to present in Wroclaw?<\/b><\/p>\n We draw on the rich legacy of classical dance. I want to continue these artistic traditions, while at the same time I want it to be combined with an understanding of the modern world and an aesthetic that is identical to it. What is important is what we leave to the next generation. Our task is to further develop the art of dance. We will achieve this by creating the best conditions for the dancers, choreographers, pedagogues and all the staff working with us at Wroc\u0142aw Opera, without whom the performances could not take place. In my opinion, an important task of a ballet manager is awareness of modernity, popularization of new techniques, respect for the richness of broadly understood dance cultures from around the world. The Wroc\u0142aw Opera House Ballet is part of a global artistic family, in which we want to take our place with full awareness of our own value, as well as openness to new challenges, influences and artistic experiences. I am interested in dance as a living art that audiences of all ages can relate to and engage in.<\/p>\n Which customs and elements of the culture of the ensembles you have worked with would you like to introduce to our ballet ensemble?<\/b><\/p>\n Above all, these are activities that will make the team ready to take on repertoire challenges and meet growing expectations in terms of dance technique and creativity. There will also be activities that raise awareness of how to effectively prevent injuries and how to take care of physical and mental form. Experiences that increase the sense of self-realization not only as a dancer, but also concerning the development of a future career, for example as an educator or choreographer, are important. To this end, I would like to reach out again to the Open Door program, where the team can try themselves in new roles.<\/p>\n What are your expectations of our artists?<\/b><\/p>\n I would like the dancers to take advantage of the opportunities created for them, to have ambition, perseverance and the ability to work with me and the rest of the ensemble – not just the ballet ensemble, but the entire Opera House as an institution.<\/p>\n According to your aspirations and dreams, what will the Wroc\u0142aw Opera Ballet ensemble look like in a few years?<\/b><\/p>\n My dream is for the Ballet of the Wroc\u0142aw Opera to become a showcase of the city. I would like the world’s most interesting artists to come to us, staging performances that we have not had the opportunity to see in Poland so far. Above all, however, I want us to be able to develop our own artistic identity, reflecting our ensemble and our Wroc\u0142aw audience; I want to create a unique offer for which people come to Wroc\u0142aw and for which our ensemble is invited to Polish and foreign stages. Moreover, I would like each individual artistic collaboration with us – whether for one season, five years or a lifetime – to be a creative, developing and memorable experience.<\/p>\n I hope that all these dreams will soon come true. Thank you very much for the interview.<\/b><\/p>\n Interviewed by Anna Kowalska<\/b><\/p>\n","protected":false},"excerpt":{"rendered":" Rozmowa z Ma\u0142gorzat\u0105 Dzier\u017con, nowym kierownikiem Baletu Opery Wroc\u0142awskiej Polska artystka mocno zwi\u0105zana z Wielk\u0105 Brytani\u0105, Ma\u0142gorzata Dzier\u017con, wraca po latach do kraju, aby dzieli\u0107 si\u0119 swoim ponad 20-letnim do\u015bwiadczeniem zawodowym z tancerzami Opery Wroc\u0142awskiej. Urodzona gliwiczanka, uko\u0144czy\u0142a Og\u00f3lnokszta\u0142c\u0105c\u0105 Szko\u0142\u0119 Baletow\u0105 w Bytomiu. Jako tancerka spe\u0142nia\u0142a si\u0119 m.in na scenach Danii, Singapuru, Szwecji, Wielkiej Brytanii […]<\/p>\n","protected":false},"author":10,"featured_media":1996,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[],"class_list":["post-1994","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-aktualnosci"],"_links":{"self":[{"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/posts\/1994","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1994"}],"version-history":[{"count":5,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/posts\/1994\/revisions"}],"predecessor-version":[{"id":2000,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/posts\/1994\/revisions\/2000"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/media\/1996"}],"wp:attachment":[{"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1994"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1994"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1994"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nz kreacjami Balanchine\u2019a, Forsythe\u2019a, Neumeiera, McGregora. Jej tw\u00f3rczo\u015b\u0107 pokazywana by\u0142a w wielu instytucjach kultury m.in. na terenie Wielkiej Brytanii oraz Polski. Jest autork\u0105 i producentem projekt\u00f3w tanecznych i multimedialnych, a jako pedagog wsp\u00f3\u0142pracowa\u0142a ze znacz\u0105cymi na \u015bwiecie instytucjami ta\u0144ca takimi jak: Royal Ballet School, Royal Academy of Dance, English National Ballet, Rambert School, Central School of Ballet, Hong Kong Academy for Performing Arts. Od 2018 r. wsp\u00f3\u0142prowadzi\u0142a zesp\u00f3\u0142 Fertile Ground w Newcastle.\u00a0<\/span><\/strong><\/p>\n
\nz kt\u00f3rymi Pani wsp\u00f3\u0142pracuje? Czy s\u0105 oni jedynie narz\u0119dziem odzwierciedlaj\u0105cym wizj\u0119 choreografa czy bior\u0105 czynny udzia\u0142 w procesie tw\u00f3rczym maj\u0105c wp\u0142yw na ostateczny wygl\u0105d choreografii?<\/b><\/p>\n
\nz innymi choreografami, mogli zaistnie\u0107 jako tancerze i wsp\u00f3\u0142tw\u00f3rcy oraz by mogli sami sprawdzi\u0107 si\u0119 jako choreografowie w programach takich jak Open Door. Wracaj\u0105c do repertuaru, jeste\u015bmy obecnie w toku ustalania nowych propozycji, w tym zaproszenia dla mnie do wsp\u00f3\u0142pracy z zespo\u0142em Opery Wroc\u0142awskiej, z czego niezmiernie si\u0119 ciesz\u0119.<\/p>\n