• Title
      not only FUTURISTS   [2015]
    • For
      4 voices, live electronics, prepared piano, drums, percussion, visuals, quadraphonic set up
    • Duration
      60'
    • Description
      Music theatre project with the aim of staging the poetry, manifestos and the other writings of the Italian, Russian and Polish Futurists from the early 20th century (as well as the anti-Futurist writer, S.I. Witkiewicz, from the same period). Recreating the revolutionary spirit of their original performances was, however, only a starting point or a pretext to have a much closer look at our contemporary society through the 'prism' of the Futurists' often radical ideology and aesthetics.
    • Press
      This exceptional concert conceived by Jerzy Bielski combines (non) music and theatrical performance to provide an hour-long (art) history lesson laced with humour (...)

      [Futurists is] a group of fearless thinkers who expose our common madness, our willingness to rush headlong into the fray without heeding the outcome. (…)

      They are not cute, they don't even try to be nice. They are loud, they are brash, they take no prisoners. They brought a goldfish and they're on a mission to show us that we have a problem, and it's only going to get worse.
      – The Critter (South Africa, Steve Kretzmann, Sep 13 2015)

    • Awards
      Gold Award at Amsterdam Fringe Festival 2015 (Dioraphte Award)
    • Website
      www.futurists.nl/notonlyfuturists
    • Credits
      Concept and music: Jerzy Bielski
      Stage direction: Laura Jakschas (DE)
      Technical Consult.: Felix Bousies (UK/BE)
      Voice/Acting: Marko Ivic (HR), Kirstine Lindemann (DK), Pia Podgornik (SL), Jerzy Bielski
      Prepared Piano/Live Electronics: Panos Iliopoulos (GR)
      Live Electronics: Akim Moiseenkov (NL)
      Drums/Found objects: Tristan Renfrow (USA)
    • Performed at
      Gaudeamus Muziekweek, Amsterdam Fringe Festival, National Arts Festival (South Africa), Café OTO (London), Theater Bellevue, Theater Kikker, RASA,
    • Supported by
      Amsterdams Fonds voor de Kunst, Amsterdamse Hogeschool voor de Kunsten, Fonds Podiumkunsten
    • Title
      + - / , 1 = _ ; X %   [2016]
    • For
      3 vocalists/dancers, live electronics and visuals
    • Duration
      35'
    • Description
      Sat at a ‘board meeting’, four performers explore the every-day influence of the world of banks and large corporations on our life. With rhythm, voices, carefully studied gestures and face expressions, they expose the underlying messages and hidden goals of that specific world, twisting and distorting them on the way. The audience is an active participant, following the leaders’ obsessive drive for competition and the will to control people’s desires and dreams. Fast-paced, dynamic action literally draws an audience into it, making it all round immersive experience.
    • Press
      The success of this performance lies not only in the fact that with modest means (chairs, tables, paper, and a beamer) a whole new universe is convincingly evoked in front of the audience’s eyes, so that they cannot do anything else but join in…Also, the success lies, just as much, in the detailed choreography, which, while at the same time helping the performers on stage/the meeting room, it nearly aggressively puts a full control over the piece’s atmosphere into their hands.
      – Theaterkrant **** (Netherlands, Pieter Rings, September, 2016)

      This is a performance that you do not forget (...) The way Bielski and Abouav make theater is anything but traditional.
      – Het Parool  (Amsterdam, Camila Bennink, September, 2016)

      The true impact of + _ /, = _ X%  by composer Jerzy Bielski, comes with the delirious criticism of the irrational chaos of financial markets, using the means of systematic choreography. That’s why, we are delighted to say, that the project will continue and you will be able to revisit it soon.
      – Ballroom Review of Dance (Paris, Marie Juliette Verga, December, 2015)

      (…) in this funny and participative piece the composer closely looks at expectations, behaviors and troubles. The point of the game is to be as close to the audience as possible. In his recent works, the artist has been seeking to integrate the audience in a more and more participative way. It’s a new opportunity to experience/experiment with other forms of relationships between sound environment and viewers’ reception.
      – Royaumont Festival (Paris, Irène Filiberti, August 2015)

    • Awards
      Finalist of the Dance Élargie International Competition (Seoul, South Korea, 2016)
    • Credits
      Concept, music, text, scenography: Jerzy Bielski
      Dance collaboration: Sandra Abouav (FR)
      Music collaboration: Stopcontact (NL)
      Performers: Sabine Rivière, Panos Iliopoulos, S. Abouav, J. Bielski
    • Performed at
      SPRING Festival (Utrecht), Festival de Royaumont (France), Amsterdam Fringe Festival, Gaudeamus Muziekweek, Gaudeamus Sessions (Utrecht) ING Arts Centre (Seoul)
    • Supported by
      Gaudeamus Foundation, Royaumont Foundation, Fonds Podiumkunsten
    • Title
      MORE (White-Red-Black)   [2016]
    • For
      3 mimers/actors, prepared piano/live electronics, electric guitar, drums and percussion
    • Duration
      30'
    • Description
      Anti-war piece exposing the underlying aims of large corporation CEOs, bankers and politicians, which make them start and run bloody conflicts around the world. This collage of images, frightening and beautiful at the same time, soundscapes and precise choreographies, often contrasts with melancholic parts in the piece, which emphasise the peaceful, paradise-like setting of the Bostheater and our distance to the violence going on every day around us. At one point the performers break it and take the action off stage, bringing it close to the audience, so that it becomes a whole new experience in the end.

      The stage of the Amsterdam Bostheater serves as a sea, whether it is filled with oil or with refugees. The isolated images in this performance look surreal against the paradise background of the Bostheater. Two worlds come together, revealing our distance or negligence to the 'other world', which exists every day.

      Interdisciplinary piece for 7 performers (actors, dancers, musicians), putting the powerful people of the world (multinational corporation directors, politicians, bankers, etc.), next to the ones affected the most by their decisions (homeless people, soldiers taking part in wars, their civilian victims and refugees), confronted with the 'average public members'. The effects which come out of this are from highly poetic and lyrical up to absurd and hyper realistic, connected to our every day world, however intertwined with abstract musical and visual images and soundscapes.

      The piece is rich in unusual sound layers and strong visual elements. Dramatised and choreographed scenes are accompanied by spoken voice arrangements, live percussion, electronics, guitar and a prerecorded soundtrack.

    • Press
      Musically iron strong (…)
      – Het Parool  (Amsterdam, Sander Janssens, July 2016)

      Jerzy Bielski lets a few musicians, technical assistant, and a few mimers to, quite literally, take possession of this enormous space, of this science fiction graveyard. With their performance, they tell a story-not-a-story, about self-fulfilling egos, which are just a little too comfortable delusions, and therefore are overwhelmed by a stroboscopically highlighted war on terror. As the three performers hang half-dead on the ropes or are being buried alive by the assistant, the searchlights high above us say to us that it’s our turn now, the spectators at the tribune. I won’t give away what happens next.
      – De Groene Amsterdammer  (Amsterdam, Loek Zonneveld, July 2016)

    • Credits
      Concept, text, music, choreography, scenography, costumes, light design: Jerzy Bielski
      Scenography Assistant: Maciej Nosal
      Actors: Eline van Gils, Joey Schrouwen, Mees Borgman, Maciej Nosal
      Prepared Piano/Live Electronics: Panos Iliopoulos
      Drums/Percussion: Tristan Renfrow
      Guitars: Jerzy Bielski
    • Performed at
      Amsterdamse Bostheater
    • Supported by
      Amsterdamse Bostheater
    • Title
      Yes No!   [2017]
    • For
      7 performers (2 mimers, video, live electronics, 3 organ, piano, guitar)
    • Duration
      60'
    • Description
      Manipulation by mainstream media, large corporations and politicians and its influence on our daily lives. The subject of this piece is tackled by the use of misleading information, contradictory messages (experimenting with sound and optical illusion) and turning the audience's attention to their own senses, with the aim of making them sharper and more attentive in the end. The full scale, an hour long interdisciplinary piece for video, MIDI programmed organ(s) and stage performance will comprise of dramatised scenes, video and live electronics.

      Highly engaging and entertaining, requiring a lot of precision and involvement from all the performers, with the active audience participation - the piece will also aim at exposing the hidden ways used by news programs as well as advertising and political campaigns (diverting the general public/audiences’ attention away from the real problems, focusing it on something else, or even ‘manufacturing’ the information for their own purposes). This will be achieved by exploring the sound and optical illusion in a creative way, using sound sources not visible to the audience, Busy Drone and the Sauer organ playing ‘by themselves’, performing silently, having blurred boundaries between what’s ‘real’ and what’s ‘not real’, what’s live and what’s being played back from ‘tape’ (or pre-programmed on a computer), who or what is making the sound in the given moment or where it’s coming from, etc...

    • Credits
      Concept, music, text, movement, video: Jerzy Bielski
      Organ: Jacob Lekkerkerker
      Organ/Live Electronics: Panos Iliopoulos
      Mimers: Erwin Dörr, Marieke Dermul
      Video: Igor C. Silva
      Video/Lights: Felix de Bousies
    • Performed at
      Orgelpark (Amsterdam)
    • Supported by
      Orgelpark
    • Title
      |__< \ 3 (tR/sLd.Nr_tK'm) [project #tristanisolde]   [2017]
    • For
      3 voices/dancers, live electronics and percussion
    • Duration
      20'
    • Description
      Based on the myth of Tristan and Isolde itself and not so much on its adaptation by Wagner or Lang. Using different colours of male and female voices, experimenting with them, however, always keeping in mind the main subject of the piece, which is love, with all the obstacles and the tragic context of the original story.

      Exploring the possibilities of voice (sung and spoken, using different sounds modulated in mouth, syllables and extended techniques) plays a big role in the performance. Percussion and live electronics (live processing, live sampling, pre-recorded voices and other sounds) accompany that, creating a background, counterpoint, as well as relating in different ways to the main action.

    • Credits
      Concept, direction, music, scenography, costumes: Jerzy Bielski
      Voice/dance: Ine Claes, Vincent van Woerkom, Jerzy Bielski
      Percussion: Tristan Renfrow
      Live Electronics: Igor C. Silva
    • Performed at
      Muziekgebouw aan ’t Ij (Amsterdam)
    • Supported by
      Silbersee
    • Title
      The Monstrum Band   [2017]
    • For
      4 actors/musicians (self-designed instruments, percussion, found objects)
    • Duration
      60'
    • Description
      Dark story of Frankenstein invented by Mary Shelley, an English writer of the romantic period, became an inspiration for Mateusz Pakuła to write a brand new play. It is a strange catalog of characters, who share a common denominator – they all have been created by human being. Beside Frankenstein’s Monster an author recalls Pinocchio and genetically programmed Eve, and throws them into a surreal meeting. Their therapeutic – music - session develops into a manifesto of ideas and views on the contemporary conditions of humanity, the limits of interference in the nature, value of social relations and political systems. The creators of the show refer to the traditions of the drama of the twentieth century, but also use elements of puppet theater, musical experimentation and mixing of the conventions, inviting viewers to the world of original forms and undiscovered sounds.
    • Press
      (...) the authors managed to create something in between a theatre performance and a concert, in which not only a spooky atmosphere, humor (...) but also some ghastly music has its place. And what music that is! Wildly played on everything, which could be brought to a theater (buckets, chains, pipes, bowls, tin boxes, car’s guts, etc. etc.). The effect is great – this anarchist cacophony not only can be listened to but one indeed wants to do it. This, considering the set of bizarre contraptions, really sounds good. From the sort of a punk mantra, in which the peculiar company sings out, quite nicely, a protest song against a bad judgment of matter's lifelessness, all the way to a perverse bossanova about an almost broken tooth (music and instruments’ design – Jerzy Bielski).

      (...) music put together using bizarre instrumentations keeps up to the level.

      It's a real musical anarchy. Tugging chains in a tin bowl is so suggestive that you would like to try to tug yourself. The impression is even greater when this is done by a peculiar gallery of corpses from the club of Frankenstein. However, "The Monstrum Band" is by no means just an ominous rock-punk concert and the conventions’ game. It's definitely more than that.
      – Gazeta Wyborcza (Monika Żmijewska, November 27, 2016)

    • Website
      www.teatrkubus.pl/spektakle-dla-mlodziezy-i-doroslych/monstrum-band
    • Credits
      Stage direction: Robert Drobniuch
      Music, instruments’ design, music coaching: Jerzy Bielski
      Text: Mateusz Pakuła
      Scenography: Jan Polivka
      Costumes: Karolina Maksimowicz
      Stage Movement: Karolina Garbacik
      Dramaturgical collaboration: Tomasz Damulewicz
      Scenography Assistant: Kamil Dziedzic
      Performers: Dagmara Sowa, Paweł Chomczyk, Błażej Twarowski, Andrzej Kuba Sielski
    • Performed at
      Teatr Lalki i Aktora “Kubuś”, Białostocki Teatr Lalek, Solniki 44 (Poland), Festiwal Konteksty (Poznań), Festiwal Maskarada (Rzeszów)
    • Supported by
      Teatr Lalki i Aktora “Kubuś” (Kielce, Poland), Grupa Coincidentia
    • Title
      Celebration of Life   [2016]
    • For
      4 mimers/musicians (self-designed instruments, percussion, found objects)
    • Duration
      60'
    • Description
      .
    • Credits
      Stage direction: Espen Hjort
      Instruments’ design, mimers’ coaching: Jerzy Bielski
      Scenography: Ruben Wijnstock
      Costumes: Brenda van Geffen
      Dramaturgy: Jessica Kuitenbrouwer
      Performers: Mees Borgman, Lotte Driessen, Steven Joles, Ervin Dörr
    • Performed at
      Theaterschool Amsterdam
    • Title
      The Disappearance of Mrs. Price   [2017]
    • For
      6 voices, upright piano, tape, live electronics, found objects
    • Duration
      25'
    • Description
      A mime-musictheatre-trhiller

      Imagine: you're wandering around a somewhat wasted, old school terrain. A child signals you to approach. It brings your ear to a pipe and you hear strange voice sounds of a singing class. Through a peephole in a curtain you see an adult group in school uniforms. While you watch them doing a strange ritual, the child whispers in your ear:

      Twenty years ago this class had a teacher.
      Mrs. Price
      One day she disappeared and never came back
      The class stayed. They can't go, they are trapped.
      Some think mrs Price has gone to a better world and they think they will go there too if they do exactly as she did.
      But I think mrs Price disappeared
      I think one of them that killed her
      Come, there is a secret entrance, I can get you inside...

      The moment you've entered the door, the children lock it behind you and run away laughing. You sit down on a schoolbench and find yourself in an oppressing atmosphere, kind of like a dream. The class does a daily school routine that doesn't stop. There seems to be a system that is very organised: everyone has its' fixed place, task and function in the group.But slowly small cracks appear in the machinerie. There are group members that dream of change. That secretly, when no one is watching, dance. That observe the windows closely in order to find a way out. That touch the things mrs Price left behind and dress themselves as her. But the group is very strict and force everyone back into the system. Even after a big shock or change all group members bounce back like puppets on a spiral spring. Nothing is said out loud, everything is concealed. But what happens when the tension becomes unbearable? If the lobsters find out they are slowly being cooked to death?

    • Credits
      Concept & stage direction: Sjoeke-Marije Wallendal
      Music, sounds concept, instruments: Jerzy Bielski
      Scenography & costumes: Sjoeke-Marije Wallendal
      Performers: Jerzy Bielski, Panos Iliopoulos, Eva Kijlstra, Anna van Diepen, Mervyn Groot, Aline Combe
    • Performed at
      SPRUIT Festival (Zwolle)
    • Supported by
      Kameroperahuis (Zwolle)
    • Title
      Wodna Opowieść   [2017]
    • For
      voices, piano, bass, drums, flute, guitar, various WATER BASED instruments and percussion
    • Duration
      55'
    • Description
      A touching story of friendship against all odds and a respect for one's otherness. In deep waters a small fish and a tadpole are born. Right from the start, they spend every moment together. Their inseparable friendship seems to be sealed by the water. However, something gradually begins to go wrong with time…Growing tadpole Tosia has problems with staying under water. Fish Franek feels anxious. And everyone around us keeps on saying, that friendship or even love between fish and frogs is impossible in our water world, not normal, unacceptable...

      Can Tosia and Franek manage to save their feelings? Can friends be different and lead different life styles from one another? Are close relationships only possible between those who look, think and feel exactly the same? We will manage to answer these and other questions when we will immerse ourselves in the water world altogether.

    • Website
      www.pleciuga.pl/spektakl/38/wodna-opowiesc
    • Credits
      Stage direction: Robert Drobniuch
      Music, instruments’ design: Jerzy Bielski
      Text: Malina Prześluga
      Scenography & costumes: Katarzyna Proniewska-Mazurek
      Stage Movement: Karolina Garbacik
      Performers: Paulina Lenart, Rafał Hajdukiewicz, Maciej Sikorski, Marta Łągiewka, Janusz Słomiński, Krzysztof Tarasiuk, Mariola Fajak-Słomińska, Mirosław Kucharski
    • Performed at
      Theatre PLECIUGA (Szczecin, Poland), Festiwal Małych prapremier (Wałbrzych)
    • Supported by
      Theatre PLECIUGA
    • Title
      not only FUTURISTS   [2015]
    • For
      4 voices, live electronics, prepared piano, drums, percussion, visuals, quadraphonic set up
    • Duration
      60'
    • Description
      Music theatre project with the aim of staging the poetry, manifestos and the other writings of the Italian, Russian and Polish Futurists from the early 20th century (as well as the anti-Futurist writer, S.I. Witkiewicz, from the same period). Recreating the revolutionary spirit of their original performances was, however, only a starting point or a pretext to have a much closer look at our contemporary society through the 'prism' of the Futurists' often radical ideology and aesthetics.
    • Press
      This exceptional concert conceived by Jerzy Bielski combines (non) music and theatrical performance to provide an hour-long (art) history lesson laced with humour (…)

      [Futurists is] a group of fearless thinkers who expose our common madness, our willingness to rush headlong into the fray without heeding the outcome. (…)

      They are not cute, they don’t even try to be nice. They are loud, they are brash, they take no prisoners. They brought a goldfish and they’re on a mission to show us that we have a problem, and it’s only going to get worse.
      – The Critter (South Africa, Steve Kretzmann, Sep 13 2015)

    • Awards
      Gold Award at Amsterdam Fringe Festival 2015 (Dioraphte Award)
    • Website

      www.futurists.nl/notonlyfuturists

    • Credits
      Concept and music: Jerzy Bielski
      Stage direction: Laura Jakschas (DE)
      Technical Consult.: Felix Bousies (UK/BE)
      Voice/Acting: Marko Ivic (HR), Kirstine Lindemann (DK), Pia Podgornik (SL), Jerzy Bielski
      Prepared Piano/Live Electronics: Panos Iliopoulos (GR)
      Live Electronics: Akim Moiseenkov (NL)
      Drums/Found objects: Tristan Renfrow (USA)
    • Performed at
      Gaudeamus Muziekweek, Amsterdam Fringe Festival, National Arts Festival (South Africa), Café OTO (London), Theater Bellevue, Theater Kikker, RASA,
    • Supported by
      Amsterdams Fonds voor de Kunst, Amsterdamse Hogeschool voor de Kunsten, Fonds Podiumkunsten
    • Read more
    • Title
      + - / , 1 = _ ; X %   [2016]
    • For
      3 vocalists/dancers, live electronics and visuals
    • Duration
      35'
    • Description
      Sat at a ‘board meeting’, four performers explore the every-day influence of the world of banks and large corporations on our life. With rhythm, voices, carefully studied gestures and face expressions, they expose the underlying messages and hidden goals of that specific world, twisting and distorting them on the way. The audience is an active participant, following the leaders’ obsessive drive for competition and the will to control people’s desires and dreams. Fast-paced, dynamic action literally draws an audience into it, making it all round immersive experience.
    • Press
      The success of this performance lies not only in the fact that with modest means (chairs, tables, paper, and a beamer) a whole new universe is convincingly evoked in front of the audience’s eyes, so that they cannot do anything else but join in…Also, the success lies, just as much, in the detailed choreography, which, while at the same time helping the performers on stage/the meeting room, it nearly aggressively puts a full control over the piece’s atmosphere into their hands.
      – Theaterkrant **** (Netherlands, Pieter Rings, September, 2016)

      This is a performance that you do not forget (…) The way Bielski and Abouav make theater is anything but traditional.
      – Het Parool  (Amsterdam, Camila Bennink, September, 2016)

      The true impact of + _ /, = _ X%  by composer Jerzy Bielski, comes with the delirious criticism of the irrational chaos of financial markets, using the means of systematic choreography. That’s why, we are delighted to say, that the project will continue and you will be able to revisit it soon.
      – Ballroom Review of Dance (Paris, Marie Juliette Verga, December, 2015)

      (…) in this funny and participative piece the composer closely looks at expectations, behaviors and troubles. The point of the game is to be as close to the audience as possible. In his recent works, the artist has been seeking to integrate the audience in a more and more participative way. It’s a new opportunity to experience/experiment with other forms of relationships between sound environment and viewers’ reception.
      – Royaumont Festival (Paris, Irène Filiberti, August 2015)

    • Awards
      Finalist of the Dance Élargie International Competition (Seoul, South Korea, 2016)
    • Credits
      Concept, music, text, scenography: Jerzy Bielski
      Dance collaboration: Sandra Abouav (FR)
      Music collaboration: Stopcontact (NL)
      Performers: Sabine Rivière, Panos Iliopoulos, S. Abouav, J. Bielski
    • Performed at
      SPRING Festival (Utrecht), Festival de Royaumont (France), Amsterdam Fringe Festival, Gaudeamus Muziekweek, Gaudeamus Sessions (Utrecht) ING Arts Centre (Seoul)
    • Supported by
      Gaudeamus Foundation, Royaumont Foundation, Fonds Podiumkunsten
    • Read more
    • Title
      MORE (White-Red-Black)   [2016]
    • For
      3 mimers/actors, prepared piano/live electronics, electric guitar, drums and percussion
    • Duration
      30'
    • Description
      Anti-war piece exposing the underlying aims of large corporation CEOs, bankers and politicians, which make them start and run bloody conflicts around the world. This collage of images, frightening and beautiful at the same time, soundscapes and precise choreographies, often contrasts with melancholic parts in the piece, which emphasise the peaceful, paradise-like setting of the Bostheater and our distance to the violence going on every day around us. At one point the performers break it and take the action off stage, bringing it close to the audience, so that it becomes a whole new experience in the end.

      The stage of the Amsterdam Bostheater serves as a sea, whether it is filled with oil or with refugees. The isolated images in this performance look surreal against the paradise background of the Bostheater. Two worlds come together, revealing our distance or negligence to the 'other world', which exists every day.

      Interdisciplinary piece for 7 performers (actors, dancers, musicians), putting the powerful people of the world (multinational corporation directors, politicians, bankers, etc.), next to the ones affected the most by their decisions (homeless people, soldiers taking part in wars, their civilian victims and refugees), confronted with the 'average public members'. The effects which come out of this are from highly poetic and lyrical up to absurd and hyper realistic, connected to our every day world, however intertwined with abstract musical and visual images and soundscapes.

      The piece is rich in unusual sound layers and strong visual elements. Dramatised and choreographed scenes are accompanied by spoken voice arrangements, live percussion, electronics, guitar and a prerecorded soundtrack.

    • Press
      Musically iron strong (…)
      – Het Parool  (Amsterdam, Sander Janssens, July 2016)

      Jerzy Bielski lets a few musicians, technical assistant, and a few mimers to, quite literally, take possession of this enormous space, of this science fiction graveyard. With their performance, they tell a story-not-a-story, about self-fulfilling egos, which are just a little too comfortable delusions, and therefore are overwhelmed by a stroboscopically highlighted war on terror. As the three performers hang half-dead on the ropes or are being buried alive by the assistant, the searchlights high above us say to us that it’s our turn now, the spectators at the tribune. I won’t give away what happens next.
      – De Groene Amsterdammer  (Amsterdam, Loek Zonneveld, July 2016)

    • Credits
      Concept, text, music, choreography, scenography, costumes, light design: Jerzy Bielski
      Scenography Assistant: Maciej Nosal
      Actors: Eline van Gils, Joey Schrouwen, Mees Borgman, Maciej Nosal
      Prepared Piano/Live Electronics: Panos Iliopoulos
      Drums/Percussion: Tristan Renfrow
      Guitars: Jerzy Bielski
    • Performed at
      Amsterdamse Bostheater
    • Supported by
      Amsterdamse Bostheater
    • Read more
    • Title
      Yes No!   [2017]
    • For
      7 performers (2 mimers, video, live electronics, 3 organ, piano, guitar)
    • Duration
      60'
    • Description
      Manipulation by mainstream media, large corporations and politicians and its influence on our daily lives. The subject of this piece is tackled by the use of misleading information, contradictory messages (experimenting with sound and optical illusion) and turning the audience's attention to their own senses, with the aim of making them sharper and more attentive in the end. The full scale, an hour long interdisciplinary piece for video, MIDI programmed organ(s) and stage performance will comprise of dramatised scenes, video and live electronics.

      Highly engaging and entertaining, requiring a lot of precision and involvement from all the performers, with the active audience participation - the piece will also aim at exposing the hidden ways used by news programs as well as advertising and political campaigns (diverting the general public/audiences’ attention away from the real problems, focusing it on something else, or even ‘manufacturing’ the information for their own purposes). This will be achieved by exploring the sound and optical illusion in a creative way, using sound sources not visible to the audience, Busy Drone and the Sauer organ playing ‘by themselves’, performing silently, having blurred boundaries between what’s ‘real’ and what’s ‘not real’, what’s live and what’s being played back from ‘tape’ (or pre-programmed on a computer), who or what is making the sound in the given moment or where it’s coming from, etc...

    • Credits
      Concept, music, text, movement, video: Jerzy Bielski
      Organ: Jacob Lekkerkerker
      Organ/Live Electronics: Panos Iliopoulos
      Mimers: Erwin Dörr, Marieke Dermul
      Video: Igor C. Silva
      Video/Lights: Felix de Bousies
    • Performed at
      Orgelpark (Amsterdam)
    • Supported by
      Orgelpark
    • Read more
    • Title
      |__< \ 3 (tR/sLd.Nr_tK'm) [project #tristanisolde]   [2017]
    • For
      3 voices/dancers, live electronics and percussion
    • Duration
      20'
    • Description
      Based on the myth of Tristan and Isolde itself and not so much on its adaptation by Wagner or Lang. Using different colours of male and female voices, experimenting with them, however, always keeping in mind the main subject of the piece, which is love, with all the obstacles and the tragic context of the original story.

      Exploring the possibilities of voice (sung and spoken, using different sounds modulated in mouth, syllables and extended techniques) plays a big role in the performance. Percussion and live electronics (live processing, live sampling, pre-recorded voices and other sounds) accompany that, creating a background, counterpoint, as well as relating in different ways to the main action.

    • Credits
      Concept, direction, music, scenography, costumes: Jerzy Bielski
      Voice/dance: Ine Claes, Vincent van Woerkom, Jerzy Bielski
      Percussion: Tristan Renfrow
      Live Electronics: Igor C. Silva
    • Performed at
      Muziekgebouw aan ’t Ij (Amsterdam)
    • Supported by
      Silbersee
    • Read more
    • Title
      The Monstrum Band   [2017]
    • For
      4 actors/musicians (self-designed instruments, percussion, found objects)
    • Duration
      60'

    • Description
      Dark story of Frankenstein invented by Mary Shelley, an English writer of the romantic period, became an inspiration for Mateusz Pakuła to write a brand new play. It is a strange catalog of characters, who share a common denominator – they all have been created by human being. Beside Frankenstein’s Monster an author recalls Pinocchio and genetically programmed Eve, and throws them into a surreal meeting. Their therapeutic – music - session develops into a manifesto of ideas and views on the contemporary conditions of humanity, the limits of interference in the nature, value of social relations and political systems. The creators of the show refer to the traditions of the drama of the twentieth century, but also use elements of puppet theater, musical experimentation and mixing of the conventions, inviting viewers to the world of original forms and undiscovered sounds.
    • Press
      (…) the authors managed to create something in between a theatre performance and a concert, in which not only a spooky atmosphere, humor (…) but also some ghastly music has its place. And what music that is! Wildly played on everything, which could be brought to a theater (buckets, chains, pipes, bowls, tin boxes, car’s guts, etc. etc.). The effect is great – this anarchist cacophony not only can be listened to but one indeed wants to do it. This, considering the set of bizarre contraptions, really sounds good. From the sort of a punk mantra, in which the peculiar company sings out, quite nicely, a protest song against a bad judgment of matter’s lifelessness, all the way to a perverse bossanova about an almost broken tooth (music and instruments’ design – Jerzy Bielski).

      (…) music put together using bizarre instrumentations keeps up to the level.

      It’s a real musical anarchy. Tugging chains in a tin bowl is so suggestive that you would like to try to tug yourself. The impression is even greater when this is done by a peculiar gallery of corpses from the club of Frankenstein. However, “The Monstrum Band” is by no means just an ominous rock-punk concert and the conventions’ game. It’s definitely more than that.
      – Gazeta Wyborcza (Monika Żmijewska, November 27, 2016)

    • Website

      www.teatrkubus.pl/spektakle-dla-mlodziezy-i-doroslych/monstrum-band

    • Credits
      Stage direction: Robert Drobniuch
      Music, instruments’ design, music coaching: Jerzy Bielski
      Text: Mateusz Pakuła
      Scenography: Jan Polivka
      Costumes: Karolina Maksimowicz
      Stage Movement: Karolina Garbacik
      Dramaturgical collaboration: Tomasz Damulewicz
      Scenography Assistant: Kamil Dziedzic
      Performers: Dagmara Sowa, Paweł Chomczyk, Błażej Twarowski, Andrzej Kuba Sielski
    • Performed at
      Teatr Lalki i Aktora “Kubuś”, Białostocki Teatr Lalek, Solniki 44 (Poland), Festiwal Konteksty (Poznań), Festiwal Maskarada (Rzeszów)
    • Supported by
      Teatr Lalki i Aktora “Kubuś” (Kielce, Poland), Grupa Coincidentia
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    • Title
      Celebration of Life   [2016]
    • For
      4 mimers/musicians (self-designed instruments, percussion, found objects)
    • Duration
      60'

    • Description
      .
    • Credits
      Stage direction: Espen Hjort
      Instruments’ design, mimers’ coaching: Jerzy Bielski
      Scenography: Ruben Wijnstock
      Costumes: Brenda van Geffen
      Dramaturgy: Jessica Kuitenbrouwer
      Performers: Mees Borgman, Lotte Driessen, Steven Joles, Ervin Dörr
    • Performed at
      Theaterschool Amsterdam
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    • Title
      The Disappearance of Mrs. Price   [2017]
    • For
      6 voices, upright piano, tape, live electronics, found objects
    • Duration
      25'
    • Description
      A mime-musictheatre-trhiller

      Imagine: you're wandering around a somewhat wasted, old school terrain. A child signals you to approach. It brings your ear to a pipe and you hear strange voice sounds of a singing class. Through a peephole in a curtain you see an adult group in school uniforms. While you watch them doing a strange ritual, the child whispers in your ear:

      Twenty years ago this class had a teacher.
      Mrs. Price
      One day she disappeared and never came back
      The class stayed. They can't go, they are trapped.
      Some think mrs Price has gone to a better world and they think they will go there too if they do exactly as she did.
      But I think mrs Price disappeared
      I think one of them that killed her
      Come, there is a secret entrance, I can get you inside...

      The moment you've entered the door, the children lock it behind you and run away laughing. You sit down on a schoolbench and find yourself in an oppressing atmosphere, kind of like a dream. The class does a daily school routine that doesn't stop. There seems to be a system that is very organised: everyone has its' fixed place, task and function in the group.But slowly small cracks appear in the machinerie. There are group members that dream of change. That secretly, when no one is watching, dance. That observe the windows closely in order to find a way out. That touch the things mrs Price left behind and dress themselves as her. But the group is very strict and force everyone back into the system. Even after a big shock or change all group members bounce back like puppets on a spiral spring. Nothing is said out loud, everything is concealed. But what happens when the tension becomes unbearable? If the lobsters find out they are slowly being cooked to death?

    • Credits
      Concept & stage direction: Sjoeke-Marije Wallendal
      Music, sounds concept, instruments: Jerzy Bielski
      Scenography & costumes: Sjoeke-Marije Wallendal
      Performers: Jerzy Bielski, Panos Iliopoulos, Eva Kijlstra, Anna van Diepen, Mervyn Groot, Aline Combe
    • Performed at
      SPRUIT Festival (Zwolle)
    • Supported by
      Kameroperahuis (Zwolle)
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    • Title
      Wodna Opowieść   [2017]
    • For
      voices, piano, bass, drums, flute, guitar, various WATER BASED instruments and percussion
    • Duration
      55'
    • Description
      A touching story of friendship against all odds and a respect for one's otherness. In deep waters a small fish and a tadpole are born. Right from the start, they spend every moment together. Their inseparable friendship seems to be sealed by the water. However, something gradually begins to go wrong with time…Growing tadpole Tosia has problems with staying under water. Fish Franek feels anxious. And everyone around us keeps on saying, that friendship or even love between fish and frogs is impossible in our water world, not normal, unacceptable...

      Can Tosia and Franek manage to save their feelings? Can friends be different and lead different life styles from one another? Are close relationships only possible between those who look, think and feel exactly the same? We will manage to answer these and other questions when we will immerse ourselves in the water world altogether.

    • Website

      www.pleciuga.pl/spektakl/38/wodna-opowiesc

    • Credits
      Stage direction: Robert Drobniuch
      Music, instruments’ design: Jerzy Bielski
      Text: Malina Prześluga
      Scenography & costumes: Katarzyna Proniewska-Mazurek
      Stage Movement: Karolina Garbacik
      Performers: Paulina Lenart, Rafał Hajdukiewicz, Maciej Sikorski, Marta Łągiewka, Janusz Słomiński, Krzysztof Tarasiuk, Mariola Fajak-Słomińska, Mirosław Kucharski
    • Performed at
      Theatre PLECIUGA (Szczecin, Poland), Festiwal Małych prapremier (Wałbrzych)
    • Supported by
      Theatre PLECIUGA
    • Read more