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Upon recommendation by Jardin d'Europe co-organiser Workshop Foundation (HU), Cullberg Ballet invited Ádám Zambrzycki (HU), Dancer/Choreographer, and Gabriella Máthé (HU), Dancer/Choreographer, for
a two weeks residency at Cullberg Ballets location in the production house of Riksteatern (Swedish National Touring Theatre).


The residency proved to provide an excellent opportunity to create a much more concentrated rehearsal period than usual for the artists. The trip itself allowed them to leave behind their daily routine and gave them inspiration. During the two weeks they focused on one task only: the creation of the production. The
result being a solid base for the upcoming premier.

At the end of the residency, the artists had a presentation in the Cullberg Ballets studio. Since the audience consisted mainly of the leaders and the dancers of Cullberg Ballet, the artists felt they had the opportunity to present their ideas to a professional environment, therefore they felt the feedback they
received was of great importance to them and had a constructive impact on their further work. They also appreciated the opportunity to participate in the daily training, observe the working methods of the company and so in a way felt a symbiosis, without disturbing one another.

*****
feedback report by Adam Zambrzycki

Artistic viewpoint

The residency was an excellent opportunity to create a much more concentrated rehearsal period than usual. The trip itself allowed us to leave behind our daily routine and gave us inspiration. In Stockholm we focused on one task only: the creation of the production. The two weeks that we spent there, resulted a really strong base for our upcoming premier.

It was of further help that we held a presentation at the end of this intense period in the studio provided by Cullberg Ballet. Since our audience consisted mainly of the leaders and the dancers of Cullberg Ballet we had the opportunity to present our ideas to a professional environment, therefore the feedback we received was of great importance to us and had a constructive impact on our further work. I would like to note that we had the opportunity to participate in their training and observe their working methods and so our work in a way was in a symbiosis, without disturbing one another.

Stockholm is a city with a unique atmosphere with many interesting things to see and explore. We felt an urge to acquaint ourselves with the people the culture and the whole social system. We were eager to experience as much as we could without neglecting the time distributed for our rehearsals. In my point of view to take out the most of such an opportunity the period of time that would be most efficient is at least one month. That way not only would the creating process develop to its fullest but also there would be a chance of exploring Stockholm on a more significant level. Independent of the goal set out, I believe the most potent way of using the two week period to its maximum is to determine a steady plan before arriving.


Organization


The organizing process for the residency overall worked out fluently. In the beginning there were a couple of misunderstandings about who to contact concerning issues such as traveling and accommodation. We weren’t sure at times whether the Workshop Foundation or Cullberg Ballet was responsible in giving us the answer, but after these questions were resolved we received all the information necessary within a 2-3 day time span. (We would like to say special thanks to Petra Péter from the Workshop Foundation and Jane Louise Hopper from Cullberg Ballet!)

The only difficulty that we faced was the financial side of our residency. The amount of the per diem served as enough to cover our expenses. The only problem was that the notification on how we would receive our daily allowance came too late to be resolved before our travel was due. This resulted in that during the first week we managed our stay out of our own expenses while still trying to fix the transaction. If we would have received the information earlier this issue wouldn’t have taken place.

Our accommodation was an apartment belonging to a hotel which suited perfectly for our needs. We found everything necessary for our stay such as cooking, washing possibilities and internet connection. On the day of our arrival we were supported by charged traveling passes a map and overall all information needed, which made it very easy to get from one spot to another without further difficulties. We had our stay in the city center and so we could easily get ourselves around by foot. The trip to the studio took 45 minutes by train but didn’t cause any significant fallback on our time schedule.
 
We were provided with a studio that was ordered completely to our use, also it was located in the same compartment of the Riksteatern as all of the Cullberg studios and so we met the dancers and the people from the office department on a daily bases. The studio was fully equipped just as we had discussed and whenever we might have had some technical difficulties a technician came shortly to our service and resolved the problem.

Conclusion

Altogether this experience was of significant help for our work. It created a solid base for our new production and also gave us the opportunity of observing the work of one of Europe’s leading companies. Stockholm served as a great environment; it gave many fresh impulses and inspiration to the working process. I believe that the success of the upcoming premier will have a great deal of gratitude to our stay in Stockholm. 

    

16. 08. 2011.

Adam Zambrzycki      

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