The show was inspired by the literature from the series "Adult Wars - Children's Stories", the graphic novel "The Arrival" by Shaun Tan, "Wędrówka Nabu" by Jarosław Mikołajewski and the memories of emigrants. The project bordering on puppet theater, visual theater, physical theater and aerial dance touches on difficult aspects of contemporary migration. By means of a wordless image, the creators will discover the personal baggage of experiences of the Nameless Heroes, forced by circumstances that should never have happened until they leave their homeland. They will take you on a journey whose end you cannot be sure of. Holding a travel ticket in your hand, you will decide for yourself about the course of the story that will be told to you. Each performance is unique and one-off also due to the sounds and music created live with the use of musical instruments and everyday objects.

Idea and realization: Łukasz Batko
Director's supervision: Magdalena Miklasz
Scenography: Anna Adamiak, Radosław Pacholczyk, Fundacja Gra/nice
Music: Łukasz Batko
Puppets: Justyna Bernadetta Banasiak
Costumes: Renata Batko
Visualizations: Piotr Osak
Illustrations: Marta Kazimierczak
Poster: Monika Kryszczyńska
Lights: Mariusz Rapała

I'll be honest with you, dear viewer – the stories presented can be true, maybe fabricated, just like the characters. Each of you will see a reflection of the stories that have happened or will happen to you. On the other side of the stage – you, your grandfather or your neighbor, someone from another galaxy. The main thing is to love and believe See you soon! I love you and I believe in you!

Recuerda is a show for an actor and puppets that tells us about life, memory and passion for the profession of puppeteer.

Childhood, tours, the beginnings of the company, the master, the dreamed puppets that came to life, the present day, love, loss, passing of time and the need for creation are some of the chapters that the show shows.

Juan Muñoz, accompanied by the technician on stage and surrounded by suitcases, will share with the audience his most precious moments in this intimate and close show located in the elusive territory of memory: a no place where reality and fiction mix, where the present and memories intertwine with to build a moving and sincere story.

Author: Juan Muñoz, Inés Maroto
Director: Inés Maroto
Scenography: Inés Maroto, Juan Muñoz
Cast: Juan Muñoz, Gonzalo Muñoz

In the future, robots coexisted with human beings.
The world moved on and the robots did their job helping people, until they began to think for themselves.
The government was not happy with this, and ordered to lock up and destroy all the robots on the planet.
And so the robots were almost extinct. Almost.
One day, Clara, a girl in a wheelchair, goes a long way from her home and arrives at a concentration camp.
There she meets a robot, probably the last robot on planet Earth.
This is how they start a deep friendship based on silence and understaning.
But something terrible happened and they were separated.
70 years later the robot awakens and begins the search for Clara, in a world that has changed, and where intolerance of difference reigns.

Original idea: David Zuazola
Direction: Marek b. Chodaczyński
Music: Marek Żurawski
Adaptation: Marek b. Chodaczyński, David Zuazola
Puppet design: David Zuazola

The title "Meeting" is a confrontation between the Daughter and the particles of her own Father, in the broad and narrow sense of the word. These particles are the living shadows that she has been running away from all her life. They grew in her, fed on her, drained her until she was almost dry. How to find yourself in a space of void where memories are constantly evolving and nothing is as it seems? How to break free from the inner representations of the father figure?

Is it even possible?

The "Meeting" was created on the basis of 38 anonymous questionnaires containing 11 questions about the Father-Daughter relationship. It was filled by women of all ages. The questions and answers served as a starting point and inspiration. It is thanks to the collected experience of women who share the social role of a Daughter that this performance was created. Below I present questions and selected answers that I, as the author, found special in the context of this project.

1. List two words that you associate with your father, preferably those that come to your mind first. // „Longing, grief.”
2. Describe the first memory that comes to mind with your father. // „A big hand stroking my cheek.”
3. How would you describe him? // „Serious and fun. Introverted.”
4. What kind of daughter were you? // „Polite, compliant, helpful, rebellious but only internally.”
5. What has this relation taught you? // „Listening to the elderly.”
6. What were you missing in it? // „Sensitivity.”
7. What are you grateful to him for? // „For trying.”
8. What would you tell him now? // „[...] that I really need him. And that he never dies.”
9. What do you think fathers should be like? // „Present.”
10. What did your father say? (Sayings, advices) // „(to me) More luck than sense.”
11. What do you associate the following body parts with in the context of paternity: (1) hand, (2) head? // (1) „Holding hands.” (2) „Talks about things in this complicated world.”

Artistic care: Błażej Piotrowski
Music: Marcin Nagnajewicz
Art consultations: art studio, sewing workshop and Karolina Krot
Literary consultation: Iwona Mocarska
Lights: Julia Kolanek
Music: Marcelina Budz

"Tańcząc ku korzeniom" (translated as "dancing to the roots") brings people closer to the world of nature and blurs the boundaries between life and the stage. It is based on the search for a natural movement at the interface between human and nature, the expression of emotions, and engaging in dialogue with the Universe. Following the internal images and impulses related to the life of flowers, trees, their relationships with human life will allow you to plunge deep into the body and reveal what emerges in the depths of the subconsciousness. The dance that draws from the subconsciousness, like the ritual - gives the possibility of transgression, becomes a cosmic activity undertaken on behalf of the community.

Through flowers and trees from our imaginarium (symbolically and physically close) we will search for what is human, life, theater, dance and who are you? "Trees, flowers" are a special metaphor and inspiration - not only vivid, intense or colorful, but also fleeting. Each of us has a dance encoded in us, which is an expression of his deepest self. Butoh dance is the process of discovering this "inner" dance, this time rooted in a garden during the Midsummer. Through theater and dance, we will meet real plants, hidden in recesses of memory, awakened by reading, reflections and wandering. By shedding their petals and leaves, flowers will offer a constantly rejuvenating life to future generations, and pass on the memory of their souls and bodies. This game with memory, a peculiar journey in time and into myself, will take place in my body-mind at the interface between man and nature.

Eco-performance will refer to the theory of Gordon Craig's "Über-Marionette", especially through the multifunctionality of the actor, stylization of the acting by puppetising the characters, as well as acting without selfishness, devoted to the rapprochement between the world of nature and the human world on the threshold of the beginning of autumn.

"Tańcząc ku korzeniom" was created thanks to the cooperation of Anna Ługowska and Katarzyna Markowska from Sztuka Ciała and Marek Kowalski from Akt Theater. The musical setting is created by Bartosz Ługowski.

Cast: Anna Ługowska, Katarzyna Markowska, Marek Kowalski, Bartosz Ługowski

In the performance “The City of Lights” we learn the story of a day in a city. The city is the largest stage, where thousands of performances take place every day. A day holds countless stories of buildings, roads, sidewalks and parks, stories between people, animals and non-human beings.

Built from recycled elements, our miniature city is an experience space and a daily witness of different events. Thousands of stories, memories and dreams come to life on stage thanks to the Warsaw people who were involved in the creation process. The inspiration for the script of the performance is the stories and stories of the participants of the creative workshop accompanying the performance.

What’s going to happen in our city, and what kind of day will it be?
This could be your story.

The play “City of Lights” was produced in co-production with Union Impossible Theatre. The script was inspired by the stories of the people of Warsaw.

The project is co-financed by the City of Warsaw.

The show "Voa Vladimir, Voa" is an homage to the memory of puppeteer Vladimir Zakharov as a good man he was and as a remebering of him as a creator and builder of the wrist puppet.

The show consists of three moments of manipulation of different puppets in the wrist puppet technique all pre-navigational by a text in which are remembered the encounters and learnings of Manuel Costa Dias with Vladimir Zakharov.

In this show, as in life, we go through moments of great empathy, moments of tenderness and moments of confrontation.

The tradition of Portuguese Puppets is present with the vane of the Robertos and with the Girl Virgininha of the Puppets of Santo Aleixo.

Manuel Costa Dias as the puppeteer and Nuno Cabrita plays the viola and sings.

Construction of puppets: Vladimir Zakharov, Manuel Costa Dias
Creation and puppet manipulation: Manuel Costa Dias
Original music, song lyrics, guitar, percussion and voice: Nuno Cabrita
Text: Manuel Costa Dias, Nuno Cabrita

The show refers to the title of Jiří Menzl’s film about the beginnings of travelling film art. The reference is conscious because Adam Walny uses the technique of manual cinema in the performance. Both the content of the performance, which is based on Andrzej Waligórski’s cycle of poems “The Mad Knight”, and the peculiarities of the technique of manual cinema (shadow theatre) and the film of the famous Czech director have nothing in common. The performance itself consists of several etudes linked by the common protagonist Zenk Dreptak, a figure who is present in Waligórski’s work in different illustrations (in the author’s contemporary version and in medieval costume) and perfectly exposes the vices and problems that are ubiquitous in our reality.