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+CONCEPT

The Method o National Constellations is a theatre game, duringwhich the audience set out on a journey to the Structure. TheStructure translates history to personal relations, to the closestmicro-world, to intimate intentions and choices, while intuition,dream and imagination all do well in there.

In the game-journey, spectators become Users o the Situation:they make use o, perorm, oppose, comprehend, amiliarize, tryout, and eventually, try on the situation. How would you look ina stranger’s shoes, someone else’s coat, in an abandoned lat, inanother person’s choice to rescue their son or daughter? Whatmeaning does it bring to you? What is the relationship betweenyou and the event/phenomenon/situation?

We ancy the word “experience”, rom the verb “to experience,try out, explore, try on, practice”. Sociologists describe the socialstructure as a system o connections between social positions,places we occupy in the social space, and not between speciicindividuals. I we take the social world into such a perspective,our imagination will inevitably hint at the idea o taking someoneelse’s place. Hence, let yoursel experience. Let your imaginationtake you over. Become your own spectator. Discover.

Within a documentary ramework, the project reers to the issue othe memory o interethnic relations in the Polish-Belarusian bor-derland during World War II, among others, the case o RomualdRajs, also known as Bury. The content o source materials concer-

ning authentic events is translain the orm o documentary paudience as the immediate particonvention o a game, allowing ion their reactions in complex, co

Premiere: 0Podlasie O



+GAME



Ten participants take part in one event. Each gets aheadphone set, through which they hear the voice othe Narrator, Dobromir Dymecki, and music playedlive by Kajetan Łukomski. Each participant is calledthe User o the Situation, and as the perormancegoes on, assumes several designated roles.

Authentic events make the basis o the game.However, it is not aimed at reconstruction o thoseevents, but rather at creating a new, present situ-

ation, a “here and now”. Neither do we attemptto give participants an illusion o reality. Partici-pants are not expected to pretend that the sceneshappen or real. We want them to use their intuition,complete the situations, search or hidden tracesand meanings. We want to turn the spectator notonly into a participant, but also into a co-author othe sketched scenes.

There are no winners or losers to this game. Thereis neither any element o rivalry. The unction o thegame is to guide the participants through the nar-ration. This also means that there is no single best

way o playing. You can laugh, treat it as a war play,you can choose to be serious, ocused, you can playas an actor, as a bad actor, you may not wish to playat all but to eel, experience, observe and discoveryoursel (with varied connotations o this word inmind).

Each User o the Situation draws their own, sepa ratenumber. They are also provided with a securitypassword that they can use at any time to withdrawrom the game.

The Users join the game only when requested by theNarrator. The playing space consists o 33 positionsprojected on a special ield. With regard to the speci-icity and adaptive possibilities o particular spaces,the perormance may exceed the playield.

The game is void o any stage props. The participantsare also requested not to use imagined requisites oralter the storyline.

Scenography:Karolina Maksimowicz



+HISTORY



“The great ear, described by Marcin Zaremba, comesout o not only – but perhaps even mostly – the expe-rience o wartime violence, the one that touches “us”and “others”. The great ear occurs when vindictivedrives crawl out to the surace. When, out o a sud-den, they become the reality, as i on their own. Themost dreadul, expected in the most hidden way –though so ar impossible, not even to be thought oclearly– they began to happen”.

Andrzej Leder, “Prześniona rewolucja” [Over-dreamt

Revolution]

In September 1945, afer the Home Army was dis-solved, a division within the National Military Union(NZW) is ormed. Romuald “Bury” Rajs becomes itscommander. The division, comprised o 200 soldiers,takes on the name o the 3rd Vilnius Brigade o theNZW.

Between 29th January and 2nd February 1946, thedivision paciies villages o Zaleszany, Wólka Wygo-nowska, Świrydy, Szpaki, Zanie. Among the 79 vic-tims there are the elderly, women and children. Allo them are Belarusian and Orthodox. The divisionleaves the locals a note to immediately depart romPoland.

The narrative o the game ocuses on two days o theso-called Bury’s Raid: the execution o the Belarusianwagon drivers in the orest near the village PuchałyStare and the paciication o the villages Zanie andSzpaki on 2nd February, the day o the Feast o OurLady o the Thunder Candle.



+TEASERhttps://vimeo.com/142395193

password: muneng

+SOURCE MATERIALS// The Institute o National Remembrance:“Information on the final findings of the investigation S 28/02/Zi on the killings of 79 persons – inhabitants of the county

Bielsk Podlaski, including 30 persons, so-called wagon drivers in the forest near Puchały Stare, in the period from 29th Ja-nuary 1949 to 2nd February 1946”

+PARTICIPANTS’ VOICES// Polish Radio Białystokhttps://drive.google.com/file/d/0B3vJ_1SOug5ubHVUY2JLXzB3bDg/view?usp=sharing

https://drive.google.com/file/d/0B3vJ_1SOug5uZ49837493827929XhjbTdDOEk5cE0/view?usp=sharing

http://ipn.gov.pl/wydzial-prasowy/komunikaty/informacja-o-ustaleniach-koncowych-sledztwa-s-2802zi-w-sprawie-pozbawienia-zyc

https://drive.google.com/file/d/0B3vJ_1SOug5ubHVUY2JLXzB3bDg/view?usp=sharing

https://drive.google.com/file/d/0B3vJ_1SOug5ubHVUY2JLXzB3bDg/view?usp=sharing

http://ipn.gov.pl/wydzial-prasowy/komunikaty/informacja-o-ustaleniach-koncowych-sledztwa-s-2802zi-w-sprawie-pozbawienia-zyc

https://drive.google.com/file/d/0B3vJ_1SOug5uZ49837493827929XhjbTdDOEk5cE0/view?usp=sharing



+EXCERPTS FROM REVIEWS

_____________________________

This spectacle was an experience so grand, powerul, cathartic anadmit, also risky, thrusting you out o your psychic comort.

I will put a personal perspective to this. It is “easiest” to become a vempathise, look at the picture o pine trees in a orest, think what theand elt, i they said goodbye reminiscing, praying, or i they greedillast look o the birch trunks. I don’t know, I cry and glance “or the laam Joanna, who is taking part in an artistic project, consciously anaconcept, the orm and the direction work, great visualisations, spagement, very well lead narration in the headphones, music (which lout to be played live), and recordings o witnesses o the events. ButJoanna, who has come here to test hersel, to experiment. In accord

the instructions, but also subduing mysel to what I am experiencinmysel or emotions, let them lead me, I shall see where to.

And one more thing. There were tears, irst tears at a spectacle or m

/ Joanna Dolecka, Arsenal Gallery in Białystok



_____________________________

The perormance by Michał Stankiewicz arouses controversy. It pstions about the limits o manipulating the audience, the right to intheir emotions and experiences, about the responsibility or the parEveryone has their own answer to these.

However, another question is worth being asked – what kind o art dand need today? The one that will improve the way we eel about oprovide entertainment, conirm our belies about the world? Or thehas the power to shake our world view, provokes to think, releases eunnerves, allows or transgression, or touching the unpresent?

/ dr Katarzyna Sawicka-Mierzyńska

Institute of Polish Philology, University of Bialystok



_____________________________

I had an impression that, through us – reacting to dramatically difficctions given by the director and creating situations difficult both or oand the co-participants – the act o remembering those villages andbeing realized.

To touch the past is the impossible dream o anyone who deals witbut this dream cannot be ulilled by all the more numerous reconsbeing made recently. The method o constellations, when reerred cio-historical reality, makes it possible to experience the past both pand emotionally, by taking the place o those whom history deprive

/ dr hab. Elżbieta Konończuk Institute of Polish Philology, University of Bialystok



+AUTHORS



___________________________

MICHAŁ STANKIEWICZDIRECTOR, DRAMATIST

Graduate o the School o Journalism at the University o War-saw, specialisation: Reportage. He also completed theatre andplaywriting studies. A participant o drama writing and drama-turgy workshops conducted by Marek Koterski, Ivan Vyrypaev,Fritz Kater, and o an artistic residence during Sopot Non-FictionFestival. He works at the crossroads o reportage, theatre and vi-

deo. He describes his art as “sensitive brutalism”. A director oplays “Import/Export” (2013), “Śmierć wrogom ojczyzny” [Deathto the Enemies o Our Homeland] (2014), “Metoda ustawień naro-dowych” [The Method o National Constellations] (2014). A grantholder o the Minister o Culture and National Heritage. A laure-ate o a competition Dolina Kreatywna [Creative Valley], organi-sed by the Polish Television, the 1st Artistic Observatory “Entrée”(Teatr Rozrywki, Chorzów), and the Artistic Award o the Mayor oBiałystok (2015).

___________________________

PIOTR SUŁKOWSKI2nd DIRECTOR, DRAMATIST

Graduate o the Institute o Ethnology and Cultural Anthropologyat the University o Warsaw. A student o Film Direction at the Po-lish National Film School in Łódź, where so ar, he has made 10 e-ature ilms presented at estivals in over 100 cities in Poland andabroad. Films “Patrz na mnie” [Look at Me] (2009), “Pobaw się zemną” [Play with Me] (2010), “Szczegół” [The Detail] (2011), “Roz-

mowa” [The Conversation] (2011) were presented, i.a. in Brazil,India, Spain, Portugal, Russia, Arica, Turkey, Cyprus, and Georgia,where the author was awarded or Best Direction. His latest ea-ture “Miruna” [The Blue Grenadier], starring Andrzej Chyra, hadits irst night at Warsaw Film Festival in 2013. In December 2013,he received an Award o the Minister o Culture and National He-ritage or outstanding accomplishments or students o artisticschools. In 2015, he completed his diploma ilm “Play”, starringAdam Woronowicz and Joanna Kulig. A grant holder o the “Mło-da Polska” [Young Poland] programme (2015). www.sulkowski-piotr.art.pl

______________

DOBROMIR DYMECKINARRATOR

Graduate o the Acting DepartmSchool in Łódź (2009). In the yearsStean Jaracz Theatre in Łódź (i.agorzata Bogajewska, “Stara kobieHatches] dir. Marek Fiedor, “Słowgorzek). In the years 2010–2012,

ma Theatre in Warsaw (i.a. “Don Krajskie ptaki” [Moles and Birds o “W imię Jakuba S.” [In the Name o“Kto zabił Alonę Iwanowną” [Whochał Kmiecik, „Madame Bovary” dir. Radek Rychcik). In the yearsNational Theatre in Warsaw („Krdir. Grzegorz Wiśniewski and “Lógomolov). He also cooperates wi(“Wojna i pokój” [War and Peace](“Klątwa, odcinki czasu beznadzMonika Strzępka), Łaźnia Nowa TBogusławski Theatre in Kalisz.



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KAJETAN ŁUKOMSKI (AVTOMAT)MUSIC LIVE ACT

Musician, DJ, graphic designer. Originally rom Toruń, a graduateo graphic design (specialisation: typography) at the University oDundee in Scotland and o sound engineering in Warsaw. For ne-arly 10 years, he has been creating music as a solo project AVTO-MAT. He started with small concerts in Great Britain. He played atestivals, i.a. Audioriver, Coke Live Fresh Noise, Totiest Festival,and in clubs Cucumber, Jazzdze, Saturator. In the meantime, heworked on remixes, i.a. Röyksopp (according to the website last.m – most requently played remix o the duo in 2012), French So-methingALaMode and Polish Kamp! and SoundQ. Afer releasinghis single “Pizzabrain” in 2012, he diverted his interests towardscombining electronic ascinations with traditional music, whichresulted in the creation o the project “Pleśni” [Moulds]. The sin-gle “Iszoł Brat” [There Went Brother] has been released by Fono-graika this year (together with, i.a. Baasch, Pysh, DreamChachremixes) and got a video clip by Black Oak Studio.

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PAWEŁ SZARZYŃSKI (KILKU.COM) VIDEO

Graphic designer, programmer. Areas o activity: animation, ilm,theatre, TV and ilm postproduction, visual arts, visual program-ming and design. Since 2010, he has been a member o a collec-tive kilku.com. An author o visualisations or, i.a. Theatre Con-rontations, T-Mobile New Horizons Film Festival, Malabar HotelTheatre.

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KATARZYNA NIZIOŁEKCURATOR

Researcher and teacher or the Institute o Sociology at the Uni-versity o Białystok. An author o a Ph.D. dissertation “Social Art.The Civil Aspects o Socio-Artistic Activities” (2015). In connec-tion with the Ph.D. thesis, in the years 2011–2013, she conducteda research project “Sztuka społeczna w Polsce. Badanie jakoś-ciowe” [Social Art in Poland. A Qualitative Research], inanced bythe National Science Centre. A scholarship holder o The Cliffordand Mary Corbridge Trust (University o Cambridge, 2009) andthe Podlaskie Scholarship Fund (2012/13). An author o articlespublished in, i.a. “Pogranicze” [Borderland], “Trzeci Sektor” [TheThird Sector], “Przegląd Socjologii Jakościowej” [Qualitative So-ciology Review], “Rocznik Białostocki” [The Białystok Yearly], “De-kada Literacka” [Literary Decade], and “Limes. Cultural Regiona-listics”. Since 2005, involved in the activities o the University oBiałystok Foundation (since 2008, as its president). She is alsoa member o the Polish Sociological Association and the Euro-pean Sociological Association. Socially engaged within the areaso cultural animation, non-ormal education and popularizationo local history and cultural heritage. A co-author o the Jewish

Heritage Trail in Białystok. She also developed and coordinatedprojects dedicated to the architecture o the Polish People’s Re-public (PRL) and to the post-PRL transormations o city spaces:“Ładniej? PRL w przestrzeni miasta” [Prettier? PRL in the city’sspace], “35 lat później” [35 Years Later], “Białostocka architektu-ra modernizmu” [Modernism Architecture o Białystok]. She coo-perates with a number o non-governmental organisations andcultural institutions, i.a. Bialystok Cultural Centre, within the pro-grammes New Horizons o Film Education and Planete+ Doc Aca-demy. In 2009, she was awarded by Białystok “Gazeta Wyborcza”in the “Przystanek Młodzi” [The Young Stop] action – “or discus-sions on multiculturalism and tolerance, and or promotion olocal history”. An initiator and coordinator o the Social Art Wor-

kshop.

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KAROL DWORAKOWSKIDRAMATIST

Anthropologist. A graduate o Etlogy at the University o Warsaw.cuses on the structure o the sel-human being.

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KAROLINA MAKSIMOWICZSCENOGRAPHER, SPACE DESIGNER

Graduate o Architecture and UUniversity o Technology. An auttiication, scenographies and spval. She works under the name P[Furniture Manuacture Białystointeriors, urniture, lamps, everyand renovation, and with the usduction. An author o theatre sin the city space. A laureate o ““Przystanek Młodzi” [The Young

holder o the Mayor o the City o

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VIDMO GROUPPROJECTIONS, MAPPING

Originate rom Warsaw and Cramany years, they have acquired contacts to inally enter the marnaged to gather a team o trustdesigners, ilm makers, photogressionals. They play with techno using multimedia in business,



+CONTACT

The project is conducted by the University of Białystok Foundation within Social Art Workshop, thanks to the scholarship of the Minister of Culturnal Heritage (2014) won by the director, and co-financing by the City of Białystok (2014) and the Marshal Office of Podlaskie Voivodeship (

KATARZYNA katarzyna.niziolek@g

0048 6

acebook.com/metoda.ustawien.nar

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