Several thousand performances on the streets of cities and towns – in Poland, Europe and America. A dozen or so outstanding theatre performances and appearances at the world's largest festivals, including Documenta, Performa, Santarcangelo. Constantly maintained activity in the social sphere, including several independent cultural centres established (Dziekanka, Dom Kultury Cora, Kino-Teatr-Tęcza). Significant influence on the formative period of the CSW Zamek Ujazdowski. Books, magazines, films, seminars. This and much more – this is the achievement of the Academy of Movement, probably the most important formation in the domestic non-institutional theatre of the last half-century.

For 10 years, since the death of its founder and leader Wojciech Krukowski, the Academy has been operating in a kind of dormant mode. No new performances or actions are created, but the group members are concerned with the care of the archives, as well as their own creative practices.
The jubilee project AR.50 is an attempt to confront the experiences of five Academy performers with creators of younger generations. The idea is unprecedented: probably no other Polish classics of performing arts have decided to undertake a similar action so far.
AR.50 recalls history (the actions on stage are accompanied by an exhibition with carefully selected documentary materials), pays homage, but also sets the archive in motion, boldly tests the possibilities contained within it. In this way, Komuna Warszawa, linked to the Academy by long-standing relations of friendship and cooperation, once again – as years ago in the “RE//MIX” project – tests the formula of a “living archive” of performing arts, an archive recalling the past through action, reinterpretation, reperformance.

 

Other Dances, 1982
A collection of 16 short images called dances here, each of which is a separate theatrical sign. The motifs of the dances are inspired by various, often opposing stereotypes of social behavior. This perception is determined by experience: both participation in social facts - and their mythology. The actor dancing everyday behaviors tries to indicate the various psychoses of social groups in contemporary Poland. He comes closest to his own, individual truth when he leaves the stage. The dances are accompanied by the music of Polish "new wave" bands (Białe Wulkany, Brygada Kryzys)