In 1993 Genesis P’Orridge and his partner Lady Jaye Breyer undergo a process of gradual bodily transformation, which is meant to not only make their bodies more similar but allow them to become the same person. Using their version of the cut-up method, P’Orridge and Breyer generate a new pandrogynous being, which they name Breyer-P’Orridge. Their transformation can be seen as a utopian transhumanist practice, since according to Max More- one of the creators of the movement- at the core of transhumanism lies the transitionality and instability of the human condition. In „More” we look at the areas of transhumanism which undermine the myth of individualism and satisfy the deeply rooted need to return to a state of entanglement with the other.


Production: Ciało/Umysł (Body/Mind) Foundation; Partner: network apap – advancing performing arts project, project co-financed by the European Union in the frame of the „Creative Europe” program, The Municipality of Warsaw and the Ministry of Culture and National Heritage.


choreography: Ramona Nagabczyńska
performance: Magda Jędra, Ramona Nagabczyńska/Anna Steller
dramaturgical consultant: Karolina Kraczkowska
music: Sasha Zakrevska, Umberto
lights: Jan Cybis
premiere: 30.09.2017 Studio teatrgaleria in Warsaw in the frame of the Ciało/Umysł (Body/Mind) Festival
production: Fundacja Ciało/Umysł with the support of Performing Europe


Password: Genesis




Ramona Nagabczyńska’s solo takes on the naturalness of the body, referring to Tadeusz Kantor’s concept of ur-matter. Ur-matter is an entity preceding illusion, an autonomous pre-existence of the theatre space. Ur-matter is the key for the choreographer’s exploration of her own body. In pURe Ramona reverses the question of oppression of the body. Instead, she tries to point to the demands of the body, its agency, ability to emancipate itself and establish its own order.


The replacement of what is required of the body by what the body wants moves this question from the plane of significance into the sphere of needs, desires and images. The ur-material energy multiplies itself, filling the space of the stage and the space of the organism, Corporality no longer appears as a seething, repressed and subordinate force, but a form of activity which regulates the rest. pURe is a cycle subjected to re-composition, an attempt to answer the question of the primeval and its possibilities today.

choreography, idea and performance: Ramona Nagabczyńska
music: Max Richter (recomposition of Vivaldi’s Four Seasons)
lighting: Ramona Nagabczyńska and Maciej Połynko
produced by: Teatr Maat as part of the Maat Festival. Kantor Now!
premiere: 5 December 2015
duration: 30 minutes



The Way Things Dinge

The Way Things Dinge is a durational performance created for the Museum of Modern Art in Warsaw.

This new performance by Ramona Nagabczynska is a study of the mechanisms and dramaturgy of physical laws, which are of interest to the artist as a potential source of aesthetic and choreographic matter. Nagabczyńska makes an attempt to redefine the ontology of object and subject in confrontation with forces of coincidence and the performer’s intentional actions. She explores the idea of autopoeisis, making it a common denominator of all physical being. The starting point for her considerations is the canonic work of the Swiss artists Fischli & Weiss The Way Things Go.

The artist strives to build a sequence of stage happenings, which require constant negotiations of one’s position from the dancers, melting the boundary between the notions of subjectivity and objectivity in the performer’s work.


Premiere: 10.05.2014 Museum of Modern Art in Warsaw.
Choreography and concept: Ramona Nagabczynska
Performed by: Magda Jędra, Korina Kordova, Paweł Sakowicz and Anita Wach.
Sound: Dominik Strycharski
Lights: Ewa Garniec

Created with the support of the Ministry of Culture and National Heritage’s Młoda Polska programme and Centrum w Ruchu which is supported by the Municipality of Wawer.






RE//accumulation is part of a series of Komuna//Warszawa commissions based on the idea of remixing the work of one particular iconic artist to whom the creator of the remix relates to particularly strongly. Ramona chose to remix the work of Trisha Brown, specifically Accumulation and Accumulation with Water Motor. She did this for two reasons. One, being that all contemporary dance as we find it today is in some way a remix of Trisha Brown’s heritage or an accumulation of various interpretations of her ideas, and therefore nobody’s work is more relevant to the concept of the remix than hers. The other reason being that the artist was fascinated by the potential of accumulation as a compositional tool. In RE//accumulation the desire to confront a product created in the XXI century, based on the idea of accumulation with the one created originally in 1971 takes on a specific form. The piece gives us a glimpse of how the technological means available inform choreography and how the knowledge of the body changes historically.


Choreography and performance: Ramona Nagabczynska
Film animation: Miguel Nieto
Music: Alexander Zekke
Lighting design: Jan Cybis
Produced by Komuna//Warszawa
Premiere: Komuna//Warszawa. June 2012. Warsaw






New (Dis)Order

“(…)Rock dance tended to be exuberant and anarchically complex, while theatre dance was often pedestrian and minimal. The familiar joke summarized the situation: in the early 1960s people would go to a dance concert to watch people stand around, and afterwards everyone would go to a party and dance”.
Cynthia J. Novack. Looking at movement as culture.

New (Dis)Order” (2012) is a piece performed and co-devised by three dancers (Magdalena Jędra, Izabela Chlewińska and Mariusz Raczyński). The theme that was explored during the creation was the rock subculture and the power that music holds over the body. It looked at dance in its non-theatrical dimension and precisely at dance as one of the main agents that define and then express cultural attitudes. Although the process was informed by many references the final aim was to deliver strong energetic states that are inherent to the experience of non-theatrical dance.

New (Dis)Order has been selected for the Aerowaves network as Aerowaves Priority Company 2014.


Choreography: Ramona Nagabczynska (with creative input from the dancers)
Performance: Izabela Chlewińska, Magda Jędra and Mariusz Raczyński
Lighting design: Jan Cybis
Music: NEU!, Ścianka, Chinawoman, Nisennenmondai, Brian Eno.
Supported by: Body/Mind Foundation, Komuna//Warszawa, Burdąg Foundation
Premiere- Teatr Studio. May 2012. Warsaw





On 23.07.2010 a group of people who haven’t much in common, other than the fact that they could potentially be audience members of a dance performance, were asked to come to Stara Prochoffnia Theatre in Warsaw, where they would contribute 20 minutes of their time. Once there, they learned what their task was. They were asked to sit in the auditorium, look at the empty stage and imagine a 20 minute solo performance that they personally would find interesting. They were then asked to get up and perform it. The only things they had at hand were themselves and the space.
In the next phase we handed the raw material over to 3 other people with completely different backgrounds and asked them to use this material to create a 7-10 minute piece to be shown as a film. They were not allowed to reveal their ideas or even exchange opinions. Some invited other people to collaborate with them during the creation process and some worked alone. The results of this process are presented in this mysteriously named video piece that explores such themes as authorship and perceptual differences.
Presented at the Ciało/Umysł Festival 2010, the Re:wizje Festival 2010, Gdańsk Dance Festival 2011 and Mica Moca Berlin in 2011.


Concept: Ramona Nagabczynska
Camerawork: Miguel Nieto
Performance and choreography: Aleksandra Lemm, Jurek Funkiewicz, Michał Piróg
Video editing and direction: Marta Mierzejewska, Alex Pawlik, Ramona Nagabczynska and Miguel Nieto
Co-produced by Ramona Nagabczynska and Fundacja Ciało/Umysł



Man’s Best Friend

This solo performance draws on the ways in which we conceive identity and the body’s role within that. It reflects on the double role of the body: as machine, and foundation of identity, and searches for the border between those two. It asks about the agency of images in the age of technological reproduction, and gives it a central place in the discussion on modern perceptions of identity.

Created and produced as part of the Solo Project 2009 program organized by Old Brewery New Dance (Stary Browar Nowy Taniec) in Poznań Poland.


Choreography and performance: Ramona Nagabczynska
Lighting design: Jan Cybis
Music: Kuba Slomkowski
Artistic mentor: Hooman Sharifi
Production: Art Stations Foundation by Grażyna Kulczyk
Premiere: Stary Browar Nowy Taniec (Old Brewery). May 2009. Poznań


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