• Title
      Zamenhof Project: Breaking the Codes
    • Description
      It's a project inspired by the ideas and the life of a linguistic genius Ludwik Zamenhof. In this large-scale interdisciplinary piece Bielski constructs a world which surprises, challenges and confuses. His work, praised by the public and the press, is unconventional, limitless and deliberately outside any boxes. The international cast, consisting of actors, musicians and dancers who between them speak seven languages, involves the audience in an exploration of communication (or miscommunication) and language. An event in which music and visual elements such as theater, contemporary dance, installation, video, set design, costumes and light are completely integrated. The traditional separation of stage and audience also becomes blurred.
      (from Muziekgebouw aan 't IJ website)
    • Press
      With Zamenhof Project: Breaking the Codes, Polish music theater maker Jerzy Bielski, artist-in-residence at Gaudeamus, brought a rather bizarre ode to Ludwik Zamenhof, creator of Esperanto and a champion of world peace. With Bielski no precise sound explorations, but an outrageous Babylonian collage of texts and languages, noise, pop, jazz, punk, sketches, clowning, DNA and computer codes, Zappa-like madness and public participation with flags and screaming commands. (...)

      Bielski (who played the guitar himself) and his performers hoisted in training jackets put down a highly energetic and well-timed show, in which there was also room for stillness. (...) Bielski has an undeniable sense of theater. Zamenhof Project was musical "monkey cages" for advanced, at high speed and full of dedication.

      NRC **** (Joep Stapel, 6 September 2019)

    • Credits
      Concept, Composition, Text, Installations/Scenography Design, Artistic & Production Leader: Jerzy Bielski
      (Final) Stage Direction: Frances Sanders
      Stage Movement: Sandra Abouav
      (Initial) Stage Direction: Laura Jakschas
      Set Design, Costumes, Installations: Karolina Maksimowicz
      Light Design: Thomas Brand
      Video, Installations: Felix de Bousies
      Audio, Video, Live Electronics: Tatiana Rosa

      Voice & Movement:
      Richard Dubelski  (France)
      Eva Layla Schipper  (Netherlands)
      Felix de Bousies  (Belgium/Greece)
      Akim Moiseenkov  (Netherlands)
      Pawel Chomczyk (Poland)
      Claire Malchrowicz  (France)
      Kirstine Lindemann  (Denmark)

      Piano, MIDI-keyboard (Asko|Schönberg – K[h]AOS): Tim Sabel
      Percussion, Drums (Asko|Schönberg – K[h]AOS): Noè Rodrigo Gisbert
      Guitars: Jerzy Bielski

      Production Assistant: Matthijs Mantel

      Zamenhof Project: Breaking the Codes  is a coproduction of Foundation Futurists and Gaudeamus.

    • Performed at
      Muziekgebouw aan 't IJ (Amsterdam), Het Huis Utrecht, Kelmis (Belgium)
    • Supported by
      Main Partner: Gaudeamus

      Other Partners:
      Asko|Schönberg, Fonds Podiumkunsten, Amsterdams Fonds voor de Kunst, Adam Mickiewicz Institute, Warsaw Autumn, Compagnie METAtarses, Muziekhuis Utrecht, Het Huis Utrecht, Instytut Teatralny im. Z. Raszewskiego, Amsterdamse Bostheater, Intro In Situ, Meakusma, Universal World Esperanto Association, Esperanto Nederland (Rotterdam), Grupa Coincidentia, Białystok Esperanto Assotiation, Przetwórnia Meblowa Białystok
    • Title
      not only FUTURISTS
    • 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)

    • Credits
      Concept, text, compositon: Jerzy Bielski
      (Final) Stage direction: Laura Jakschas (DE)
      Technical Consult./Machines: Felix Bousies (BE/GR), Tatiana Rosa (NL)

      Voice & movement:
      Marko Ivic (HR)
      Pia Podgornik (SL)
      Olga Siemienczuk (DE)
      Matthias Sigurdsson (IC)
      Kirstine Lindemann (DK)
      Jerzy Bielski

      Prepared Piano/Live Electronics: Panos Iliopoulos (GR)
      Live Electronics: Akim Moiseenkov (NL)
      Drums/Found objects: Tristan Renfrow (USA), Olaf Rykała (PL)

    • Performed at
      Gaudeamus Muziekweek, Amsterdam Fringe Festival, National Arts Festival (South Africa), Café OTO (London), Theater Bellevue, Theater Kikker, RASA, Mazowiecki Instytut Kultury (Warsaw), MOCAK (Kraków)
    • Supported by
      Amsterdams Fonds voor de Kunst, Amsterdamse Hogeschool voor de Kunsten, Fonds Podiumkunsten
    • Title
      MORE (White-Red-Black)
    • 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
      Circuit
    • Description
      Though a prosaic name like Circuit may not jump at you on a festival poster, this bunch’s modus operandi epitomises all kinds of absurd. Circuit isn’t so much a band as it’s a lab of musical Mad Scientists. This winsome collective channels the satirical sloganeering of Devo, the frantic genre-hopping of Mr. Bungle and the slapstick theatrics of Zappa and his Mothers. If these names ring true to you, however, you’ll know there’s nothing remotely comparable to Circuit’s all-out musical smorgasbord and quirky shenanigans.
      (from “Le Guess Who?” page)

      Highly experimental rock, jazz, free-spirited 8-piece avant-garde, energetic, eclectic & electric ˙&*^!&•¶_%’ band Circuit, with lots of live electronics, harp, cello, classical “contemporary” sounds, strong rhythm and horn section, improv all around, etc. etc.. etc…The band has been formed in 2009 in London, UK, out of people coming from different backgrounds, countries and environments: jazz, sonic arts, classical, Middlesex University, Europe, Asia and America(s). They’ve been touring internationally and recording extensively ever since.

    • Press
      A rollicking, ingenious, painstakingly orchestrated record that draws from nearly every available genre of music, Circuit’s “Codes” is an achievement bespeaking musical creative greatness and genuine artistic integrity in its each and every attribute. (...) Like a novel by James Joyce, the album is chock full with signs and symbols.
      – MondoTunes (USA, Sean McCauley, November 2012)

      One of the main strengths of the band is its front man Jerzy Bielski (...) Circuit’s music is a patchwork of all possible styles, a blend of music and performance art that combines sound and silence, images, samples and murmurs. It’s a deconstructionist approach to music; the band misleads its audience with sudden changes of rhythm, style and instrumentation.
      – Port Kultury (Gdańsk, Katarzyna Gajewska, October 26, 2012)

      A song called ‘Thank you from the mountain’ simply knocks you off your feet
      – Cooltura (London, Piotr Dobroniak, June 19, 2011)

      The concert was excellent. It testifies to the fact that young people are, unselfconsciously, making sounds and harmonies that are beyond the comprehension of those who just sit in front of their TV.
      – SPATiF (Sopot, Arkadiusz Hronowski, 25 October 2012)

      Jerzy also writes music for theatre and shows up in various music projects, which provides evidence of his indefatigable artistic resources and hunger for creativity. (...) With mathematical precision, he has been drawing up notes, polishing lyrics and gathering the best musicians to complete his ambitious project [Circuit].
      – Kobieta w UK (London, Małgorzata Przymierska, 3 March 2010)

      The band sounds like nothing else before them, even if some compare the group to the likes of Frank Zappa, Pink Floyd, Loose Tubes or classical composer Gyorgy Ligeti – there are moments when these wide-ranging influences are apparent, but it is safe to say that the style of Circuit is eclectic
      and can only be described as a mixture of many styles with an emphasis on rock and with an experimental approach to form, where tight rhythms and fast tempos contrast with open out-of- time free solos.

      [Circuit] is much more than nine instruments on one stage. It‘s a real riddle for a music lover and can by no means can be pigeonholed or bore.
      – Goniec Polski (The Polish Times, London, issue 372, 22 April 2011)

      Awards: Emerging Excellence Award (Musicians Benevolent Fund, UK)

    • Credits
      Music & lyrics: Jerzy Bielski
      Voice & guitar: Jerzy Bielski
      Trumpet: Matt Ellis
      Bass: Ed Babar, Theo Ziarkas, Geoff Threadgold
      Harp: Cristina Di Bernardi
      Cello: Evva Mizerska, Sarah Joyce
      Live Electronics: Felix de Bousies, Kacper Ziemianin
      Drums: Zach McCullough, Daniel Jekey
      Tenor Saxophone: Seb Silas, Claire Ellis, Dan Mays, Rob Cope
      Piano: Maria Chiara Argiro, Ewan Duffus, Espen Tjalve,
      Rob Barron
      Trombone: David Lalljee
    • Performed at
      various different venues in the UK, Belgium, Netherlands and Poland
    • Supported by
      Musicians Benevolent Fund (UK)
    • Title
      + - / , 1 = _ ; X %
    • 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) Danse Èlargie festival (Seoul)
    • Supported by
      Gaudeamus Foundation, Royaumont Foundation, Fonds Podiumkunsten
    • Title
      Yes No!
    • 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
      Voice/movement: Erwin Dörr, Marieke Dermul
      Video: Igor C. Silva
      Video/Lights: Felix de Bousies
    • Performed at
      Orgelpark (Amsterdam)
    • Supported by
      Orgelpark
    • Title
      #tristanisolde – |__< \ 3 (tR/sLd.Nr_tK'm)
    • 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/movement: 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
      Down/Up
    • Description
      "(…) the influence of avant-garde sound poems is evident in the two pieces Up and Down. The soprano rolls r’s, slides over a variety of sounds lie ‘aa’, ‘oo’, and ‘e’. Singers rasp g’s, grumble ‘w, rr, z, ź, g, b, c, k, dż, pff, czsz’ and breathe out their last breath. Bielski searches for a different language in the singing voice, one that is not based on the understandability of words.

      But Bielski’s work also refers to innovator Antonin Artaud who aimed at removing textual and psychological drama from theatre and replacing it with new aspects, such as movement, colour, light, sound, music–what can be felt but not really expressed. Bielski’s symbolism is based on similar thinking. Everything is a foil for something else as he pairs vertical and horizontal lines and movements, standing up and lying down, a single note and rapid downward runs, horizontal and vertical handling of instruments. He also enforces unusual playing techniques as hands move from left to right, up or down. All these elements add hidden meaning to the overall narrative until it becomes a ritual or the snippet of a story, depending on the interpretation of the listener/viewer."
      – Jan Nieuwenhuis (Program Notes)

    • Press
      (...) strong was the diptych "Up" and "Down" by Jerzy Bielski: a dramatic oratorio cut loose from language and meaning. Both parts condition clever mirror effects, but rapture was mainly because of the exciting interaction between the soprano and the instrumentalists.
      – NRC (Joep Stapel, 12 September 2016)

      A nice contrast (...) with the crazy, energetic pieces "Up" and "Down" by the Polish composer Jerzy Bielski (1984). His approach is distinctly theatrical.
      – Culuurpers (Utrecht, Thea Derks, September 10, 2016)

    • Credits
      Music, movement: Jerzy Bielski
      Conductor: Manoj Kamps
      Soprano: Sterre Konijn
      Male voices: Arnout Lems, Maciej Straburzyński, Steven van Gils
      Fujara: Raphaela Danksagmüller
    • Performed at
      Gaudeamus Muziekweek
    • Supported by
      Silbersee, Gaudeamus Muziekweek
    • Title
      Celebration of Life
    • Description
      .
    • Credits
      Stage direction: Espen Hjort
      Installations/instruments design, performers’ coaching: Jerzy Bielski
      Scenography: Ruben Wijnstock
      Costumes: Brenda van Geffen
      Dramaturgy: Jessica Kuitenbrouwer
      Performers: Mees Borgman, Lotte Driessen, Steven Joles, Ervin Dörr
    • Title
      The Monstrum Band
    • 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)

    • Credits
      Stage direction: Robert Drobniuch
      Music, sound installations/instruments design, performers' 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
      Westfluügel (Leipzig), Teatr Lalki i Aktora “Kubuś”, Białostocki Teatr Lalek, Solniki 44 (Poland), Festiwal Konteksty (Poznań), Festiwal Maskarada (Rzeszów)
    • Supported by
      Teatr Lalki i Aktora (Kielce, Poland), Grupa Coincidentia
    • Title
      Red Square, Black Circle, Blue Triangle
    • Description
      Imagining "every day" rhythms and their very different percussive sources forming into various micro and macro patterns – as an input for possible endless mutations and transformations.

      Also, taking a deep plunge into their textural and timbral exploration using live coding and quadraphonic speaker set up.

    • Credits
      Composition: Jerzy Bielski
      Percussion: Yung-Tuan Ku, Sujin Hwang, Lola Mlacnik, Mauricio Ramirez
      Live Electronics: Felipe Ignacio Noriega
    • Performed at
      Composers Festival
    • Title
      The Disappearance of Mrs. Price
    • 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
    • Supported by
      Kameroperahuis
    • Title
      Turning Point
    • Description
      The work Turning Point from 2015 is the first collaboration of painter Pim Piët with the Polish composer Jerzy Bielski (1984). One speaker had to be mounted outside the panel, and this was a new challenge for Piët, not only in its design but also as a challenge to strengthen the relationship with the painting itself. The rotating object, mounted in the panel becomes the intermediate and seems to catch signals, again blurring the sliding scale of the visual plane towards aural space where boundaries become vague. That idea is exactly how the exhibition design and arrangement came to be. The wall is not only the carrier of the work, but it becomes a part of the overall concept to connect separate works with each other in a new manner. A movement of a visual object through space towards sound/noise. It is the viewer’s task to undergo the musical experience.
      – Ingrid van Santen (from the exhibition booklet)
    • Credits
      Painting: Pim Piët
      Music: Jerzy Bielski
    • Performed at
      Galerie Sophie (The Hague), Kadmium (Delft), pARTners Gallery (Rotterdam), De Haagse Kunstkring (The Hague)
    • Title
      Bibi Ha Bibi
    • Description
      Wearing skin-tight playsuits, Aloun Marchal and Henrique Furtado weigh each other up, stare at each other, stand firm in the middle of the stage and let out a cry from deep inside : the challenge is laid down. Face to face, close to each other, conniving and provoking at the same time, they are getting ready. They explore a wide range of sounds and movements with clashing styles, from sports fighting to teasing childish games, from rumbling noises to lullabies, from straightforward breathing to bestial yelling. Progressive mechanisms drive the performers even further into their exercise, moving disjointedly and opening their throats more and more. The pas de deux glides from controlled violence to sensuality, which are both disturbingly based on listening, mimicry and exchange of movements. Progressively, voices and faces, laughing and cruel, get tangled, mixed up and rival each other. Henrique
      Furtado and Aloun Marchal are ready, at last…
    • Credits
      Concept, creation: Aloun Marchal, Henrique Furtado
      Music collaboration: Jerzy Bielski
      Dramaturgy: Céline Cartillier
      Scenography, costumes: Camille Rosa, Rozenn Lamand
      Performers: Aloun Marchal, Henrique Furtado
    • Performed at
      various venues in: Paris, Göthenburg (Sweden), Lisbon (Portugal), Marseille, Toulouse (France), etc.
    • Title
      Zamenhof Project: Breaking the Codes
    • Description
      It's a project inspired by the ideas and the life of a linguistic genius Ludwik Zamenhof. In this large-scale interdisciplinary piece Bielski constructs a world which surprises, challenges and confuses. His work, praised by the public and the press, is unconventional, limitless and deliberately outside any boxes. The international cast, consisting of actors, musicians and dancers who between them speak seven languages, involves the audience in an exploration of communication (or miscommunication) and language. An event in which music and visual elements such as theater, contemporary dance, installation, video, set design, costumes and light are completely integrated. The traditional separation of stage and audience also becomes blurred.
      (from Muziekgebouw aan 't IJ website)
    • Press
      With Zamenhof Project: Breaking the Codes, Polish music theater maker Jerzy Bielski, artist-in-residence at Gaudeamus, brought a rather bizarre ode to Ludwik Zamenhof, creator of Esperanto and a champion of world peace. With Bielski no precise sound explorations, but an outrageous Babylonian collage of texts and languages, noise, pop, jazz, punk, sketches, clowning, DNA and computer codes, Zappa-like madness and public participation with flags and screaming commands. (…)

      Bielski (who played the guitar himself) and his performers hoisted in training jackets put down a highly energetic and well-timed show, in which there was also room for stillness. (…) Bielski has an undeniable sense of theater. Zamenhof Project was musical “monkey cages” for advanced, at high speed and full of dedication.

      NRC **** (Joep Stapel, 6 September 2019)

    • Credits
      Concept, Composition, Text, Installations/Scenography Design, Artistic & Production Leader: Jerzy Bielski
      (Final) Stage Direction: Frances Sanders
      Stage Movement: Sandra Abouav
      (Initial) Stage Direction: Laura Jakschas
      Set Design, Costumes, Installations: Karolina Maksimowicz
      Light Design: Thomas Brand
      Video, Installations: Felix de Bousies
      Audio, Video, Live Electronics: Tatiana Rosa

      Voice & Movement:
      Richard Dubelski  (France)
      Eva Layla Schipper  (Netherlands)
      Felix de Bousies  (Belgium/Greece)
      Akim Moiseenkov  (Netherlands)
      Pawel Chomczyk (Poland)
      Claire Malchrowicz  (France)
      Kirstine Lindemann  (Denmark)

      Piano, MIDI-keyboard (Asko|Schönberg – K[h]AOS): Tim Sabel
      Percussion, Drums (Asko|Schönberg – K[h]AOS): Noè Rodrigo Gisbert
      Guitars: Jerzy Bielski

      Production Assistant: Matthijs Mantel

      Zamenhof Project: Breaking the Codes  is a coproduction of Foundation Futurists and Gaudeamus.

    • Performed at
      Muziekgebouw aan ‘t IJ (Amsterdam), Het Huis Utrecht, Kelmis (Belgium)
    • Supported by
      Main Partner: Gaudeamus

      Other Partners:
      Asko|Schönberg, Fonds Podiumkunsten, Amsterdams Fonds voor de Kunst, Adam Mickiewicz Institute, Warsaw Autumn, Compagnie METAtarses, Muziekhuis Utrecht, Het Huis Utrecht, Instytut Teatralny im. Z. Raszewskiego, Amsterdamse Bostheater, Intro In Situ, Meakusma, Universal World Esperanto Association, Esperanto Nederland (Rotterdam), Grupa Coincidentia, Białystok Esperanto Assotiation, Przetwórnia Meblowa Białystok

    • Read more
    • Title
      not only FUTURISTS
    • 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)

    • Credits
      Concept, text, compositon: Jerzy Bielski
      (Final) Stage direction: Laura Jakschas (DE)
      Technical Consult./Machines: Felix Bousies (BE/GR), Tatiana Rosa (NL)

      Voice & movement:
      Marko Ivic (HR)
      Pia Podgornik (SL)
      Olga Siemienczuk (DE)
      Matthias Sigurdsson (IC)
      Kirstine Lindemann (DK)
      Jerzy Bielski

      Prepared Piano/Live Electronics: Panos Iliopoulos (GR)
      Live Electronics: Akim Moiseenkov (NL)
      Drums/Found objects: Tristan Renfrow (USA), Olaf Rykała (PL)

    • Performed at
      Gaudeamus Muziekweek, Amsterdam Fringe Festival, National Arts Festival (South Africa), Café OTO (London), Theater Bellevue, Theater Kikker, RASA, Mazowiecki Instytut Kultury (Warsaw), MOCAK (Kraków)
    • Supported by
      Amsterdams Fonds voor de Kunst, Amsterdamse Hogeschool voor de Kunsten, Fonds Podiumkunsten
    • Read more
    • Title
      MORE (White-Red-Black)
    • 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
      Circuit

    • Description
      Though a prosaic name like Circuit may not jump at you on a festival poster, this bunch’s modus operandi epitomises all kinds of absurd. Circuit isn’t so much a band as it’s a lab of musical Mad Scientists. This winsome collective channels the satirical sloganeering of Devo, the frantic genre-hopping of Mr. Bungle and the slapstick theatrics of Zappa and his Mothers. If these names ring true to you, however, you’ll know there’s nothing remotely comparable to Circuit’s all-out musical smorgasbord and quirky shenanigans.
      (from “Le Guess Who?” page)

      Highly experimental rock, jazz, free-spirited 8-piece avant-garde, energetic, eclectic & electric ˙&*^!&•¶_%’ band Circuit, with lots of live electronics, harp, cello, classical “contemporary” sounds, strong rhythm and horn section, improv all around, etc. etc.. etc…The band has been formed in 2009 in London, UK, out of people coming from different backgrounds, countries and environments: jazz, sonic arts, classical, Middlesex University, Europe, Asia and America(s). They’ve been touring internationally and recording extensively ever since.

    • Press
      A rollicking, ingenious, painstakingly orchestrated record that draws from nearly every available genre of music, Circuit’s “Codes” is an achievement bespeaking musical creative greatness and genuine artistic integrity in its each and every attribute. (…) Like a novel by James Joyce, the album is chock full with signs and symbols.
      – MondoTunes (USA, Sean McCauley, November 2012)

      One of the main strengths of the band is its front man Jerzy Bielski (…) Circuit’s music is a patchwork of all possible styles, a blend of music and performance art that combines sound and silence, images, samples and murmurs. It’s a deconstructionist approach to music; the band misleads its audience with sudden changes of rhythm, style and instrumentation.
      – Port Kultury (Gdańsk, Katarzyna Gajewska, October 26, 2012)

      A song called ‘Thank you from the mountain’ simply knocks you off your feet
      – Cooltura (London, Piotr Dobroniak, June 19, 2011)

      The concert was excellent. It testifies to the fact that young people are, unselfconsciously, making sounds and harmonies that are beyond the comprehension of those who just sit in front of their TV.
      – SPATiF (Sopot, Arkadiusz Hronowski, 25 October 2012)

      Jerzy also writes music for theatre and shows up in various music projects, which provides evidence of his indefatigable artistic resources and hunger for creativity. (…) With mathematical precision, he has been drawing up notes, polishing lyrics and gathering the best musicians to complete his ambitious project [Circuit].
      – Kobieta w UK (London, Małgorzata Przymierska, 3 March 2010)

      The band sounds like nothing else before them, even if some compare the group to the likes of Frank Zappa, Pink Floyd, Loose Tubes or classical composer Gyorgy Ligeti – there are moments when these wide-ranging influences are apparent, but it is safe to say that the style of Circuit is eclectic
      and can only be described as a mixture of many styles with an emphasis on rock and with an experimental approach to form, where tight rhythms and fast tempos contrast with open out-of- time free solos.

      [Circuit] is much more than nine instruments on one stage. It‘s a real riddle for a music lover and can by no means can be pigeonholed or bore.
      – Goniec Polski (The Polish Times, London, issue 372, 22 April 2011)

      Awards: Emerging Excellence Award (Musicians Benevolent Fund, UK)

    • Credits
      Music & lyrics: Jerzy Bielski
      Voice & guitar: Jerzy Bielski
      Trumpet: Matt Ellis
      Bass: Ed Babar, Theo Ziarkas, Geoff Threadgold
      Harp: Cristina Di Bernardi
      Cello: Evva Mizerska, Sarah Joyce
      Live Electronics: Felix de Bousies, Kacper Ziemianin
      Drums: Zach McCullough, Daniel Jekey
      Tenor Saxophone: Seb Silas, Claire Ellis, Dan Mays, Rob Cope
      Piano: Maria Chiara Argiro, Ewan Duffus, Espen Tjalve,
      Rob Barron
      Trombone: David Lalljee
    • Performed at
      various different venues in the UK, Belgium, Netherlands and Poland
    • Supported by
      Musicians Benevolent Fund (UK)
    • Read more
    • Title
      + - / , 1 = _ ; X %
    • 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) Danse Èlargie festival (Seoul)
    • Supported by
      Gaudeamus Foundation, Royaumont Foundation, Fonds Podiumkunsten
    • Read more
    • Title
      Yes No!
    • 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
      Voice/movement: Erwin Dörr, Marieke Dermul
      Video: Igor C. Silva
      Video/Lights: Felix de Bousies
    • Performed at
      Orgelpark (Amsterdam)
    • Supported by
      Orgelpark
    • Read more
    • Title
      #tristanisolde – |__< \ 3 (tR/sLd.Nr_tK'm)
    • 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/movement: 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
      Down/Up
    • Description
      "(…) the influence of avant-garde sound poems is evident in the two pieces Up and Down. The soprano rolls r’s, slides over a variety of sounds lie ‘aa’, ‘oo’, and ‘e’. Singers rasp g’s, grumble ‘w, rr, z, ź, g, b, c, k, dż, pff, czsz’ and breathe out their last breath. Bielski searches for a different language in the singing voice, one that is not based on the understandability of words.

      But Bielski’s work also refers to innovator Antonin Artaud who aimed at removing textual and psychological drama from theatre and replacing it with new aspects, such as movement, colour, light, sound, music–what can be felt but not really expressed. Bielski’s symbolism is based on similar thinking. Everything is a foil for something else as he pairs vertical and horizontal lines and movements, standing up and lying down, a single note and rapid downward runs, horizontal and vertical handling of instruments. He also enforces unusual playing techniques as hands move from left to right, up or down. All these elements add hidden meaning to the overall narrative until it becomes a ritual or the snippet of a story, depending on the interpretation of the listener/viewer."
      – Jan Nieuwenhuis (Program Notes)

    • Press
      (…) strong was the diptych “Up” and “Down” by Jerzy Bielski: a dramatic oratorio cut loose from language and meaning. Both parts condition clever mirror effects, but rapture was mainly because of the exciting interaction between the soprano and the instrumentalists.
      – NRC (Joep Stapel, 12 September 2016)

      A nice contrast (…) with the crazy, energetic pieces “Up” and “Down” by the Polish composer Jerzy Bielski (1984). His approach is distinctly theatrical.
      – Culuurpers (Utrecht, Thea Derks, September 10, 2016)

    • Credits
      Music, movement: Jerzy Bielski
      Conductor: Manoj Kamps
      Soprano: Sterre Konijn
      Male voices: Arnout Lems, Maciej Straburzyński, Steven van Gils
      Fujara: Raphaela Danksagmüller
    • Performed at
      Gaudeamus Muziekweek
    • Supported by
      Silbersee, Gaudeamus Muziekweek
    • Read more
    • Title
      Celebration of Life

    • Description
      .
    • Credits
      Stage direction: Espen Hjort
      Installations/instruments design, performers’ coaching: Jerzy Bielski
      Scenography: Ruben Wijnstock
      Costumes: Brenda van Geffen
      Dramaturgy: Jessica Kuitenbrouwer
      Performers: Mees Borgman, Lotte Driessen, Steven Joles, Ervin Dörr
    • Read more
    • Title
      The Monstrum Band

    • 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)

    • Credits
      Stage direction: Robert Drobniuch
      Music, sound installations/instruments design, performers’ 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
      Westfluügel (Leipzig), Teatr Lalki i Aktora “Kubuś”, Białostocki Teatr Lalek, Solniki 44 (Poland), Festiwal Konteksty (Poznań), Festiwal Maskarada (Rzeszów)
    • Supported by
      Teatr Lalki i Aktora (Kielce, Poland), Grupa Coincidentia
    • Read more
    • Title
      Red Square, Black Circle, Blue Triangle
    • Description
      Imagining "every day" rhythms and their very different percussive sources forming into various micro and macro patterns – as an input for possible endless mutations and transformations.

      Also, taking a deep plunge into their textural and timbral exploration using live coding and quadraphonic speaker set up.

    • Credits
      Composition: Jerzy Bielski
      Percussion: Yung-Tuan Ku, Sujin Hwang, Lola Mlacnik, Mauricio Ramirez
      Live Electronics: Felipe Ignacio Noriega
    • Performed at
      Composers Festival
    • Read more
    • Title
      The Disappearance of Mrs. Price
    • 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
    • Supported by
      Kameroperahuis
    • Read more
    • Title
      Turning Point

    • Description
      The work Turning Point from 2015 is the first collaboration of painter Pim Piët with the Polish composer Jerzy Bielski (1984). One speaker had to be mounted outside the panel, and this was a new challenge for Piët, not only in its design but also as a challenge to strengthen the relationship with the painting itself. The rotating object, mounted in the panel becomes the intermediate and seems to catch signals, again blurring the sliding scale of the visual plane towards aural space where boundaries become vague. That idea is exactly how the exhibition design and arrangement came to be. The wall is not only the carrier of the work, but it becomes a part of the overall concept to connect separate works with each other in a new manner. A movement of a visual object through space towards sound/noise. It is the viewer’s task to undergo the musical experience.
      – Ingrid van Santen (from the exhibition booklet)
    • Credits
      Painting: Pim Piët
      Music: Jerzy Bielski
    • Performed at
      Galerie Sophie (The Hague), Kadmium (Delft), pARTners Gallery (Rotterdam), De Haagse Kunstkring (The Hague)
    • Read more
    • Title
      Bibi Ha Bibi

    • Description
      Wearing skin-tight playsuits, Aloun Marchal and Henrique Furtado weigh each other up, stare at each other, stand firm in the middle of the stage and let out a cry from deep inside : the challenge is laid down. Face to face, close to each other, conniving and provoking at the same time, they are getting ready. They explore a wide range of sounds and movements with clashing styles, from sports fighting to teasing childish games, from rumbling noises to lullabies, from straightforward breathing to bestial yelling. Progressive mechanisms drive the performers even further into their exercise, moving disjointedly and opening their throats more and more. The pas de deux glides from controlled violence to sensuality, which are both disturbingly based on listening, mimicry and exchange of movements. Progressively, voices and faces, laughing and cruel, get tangled, mixed up and rival each other. Henrique
      Furtado and Aloun Marchal are ready, at last…
    • Credits
      Concept, creation: Aloun Marchal, Henrique Furtado
      Music collaboration: Jerzy Bielski
      Dramaturgy: Céline Cartillier
      Scenography, costumes: Camille Rosa, Rozenn Lamand
      Performers: Aloun Marchal, Henrique Furtado
    • Performed at
      various venues in: Paris, Göthenburg (Sweden), Lisbon (Portugal), Marseille, Toulouse (France), etc.
    • Read more