Real-time anachronism.

Using open web technology, 1923.webcam re­employed dance poems from the culture of Weimar Berlin nackt­tanz to create six live vign­ettes one visitor at a time.

Visit www.1923.webcam for more info.

Performance: Magda Tuka, Anita Wach
Sound: Opaean
Code: Jacqueline Pixley
Devised by Tuka Wach and Jack

1923.webcam support: International Visegrad Fund, Motus > Alfred ve dvore, Adam Mickiewicz Institute, Studium Teatralne, City of Warsaw, Stawman Augments

How the Hares are Dying | Private Inventory

- a double bill of ontological insecurity -

Wild­ly differ­ing in style, these two-handers both played with ideas of dis­appear­ance to our sense of being. The episodic ritual of Private Inventory, conceived as a choreography of the hidden, was followed by an imag­inary work­shop of Joseph Beuys, the setting for an exploration of self-sacrifice and transformation in How the Hares are Dying.

Hares has developed into an ongoing solo work by Tuka, How the Hare is Dying, more details at tuka.link

Private Inventory
Performance: Magda Tuka, Anita Wach
Concept & direction: Anita Wach

How the Hares are Dying
Performance: Magda Tuka, Anita Wach
Sound: Opaean
Concept & direction: Magda Tuka

📷︎ PatMic

T: Many of you are asking me, why wrestling? Wrestling is my song of love, song of freedom.
W: What I like about fight? That I never know what to expect next, constant surprises and having to be ready.
T: Yeah. Fight, Fight - That's All We Can Do, and the show must go on!

“fun, energetic, and smart, referencing popular culture in a thoughtful and apposite way. Tuka and Wach focus on comic effects but they are not trivial.” Una Bauer, Kulturpunkt.hr

Performance: Magda Tuka, Anita Wach
Sound: Opaean
Concept & direction: Magda Tuka

📷︎ Dusand, Ruta Pirtniece

Alive Alive-O!
  A multi­media tragi­comedy mixing the Greek myth of Eurydice with the contemporary news item of a jilted Chinese bride whose groom’s sudden cold feet had prompted her, with her wedding dress on, to attempt the jump from a 7th-floor window.

“The masterfully constructed narrative [...] the skilful manipulation of irony” Magdalena Zamorska, Taniecpolska.pl

Performance: Magda Tuka, Anita Wach
Sound: Opaean
Concept & text: Magda Tuka

📷︎ Marta Ankiersztejn


Searching for poetic inspiration from great literature, in boyband choreography, even from within their (oft-stolen) identities, the ‘Pathetic Quartet’ construct situations in which to celebrate triviality in the sublime and the infinity of irrelevance, and ultimately to attempt nothing less than a resurrection of the spirit of Romanticism. Gloria!  gloria!

Choreography and performance: Magdalena Jędra, Anna Steller, Magda Tuka, Anita Wach
Direction consultant: Magda Tuka
Concept & Direction: Anita Wach

📷︎ Paweł Wyszomirski

MUTE, in which the performer paradoxically resigned from her initiative and put herself through other artists' experiences that she had not been part of but had become part of her. A collection of names, titles, statements and stolen choreographies in the context of a personal struggle with reality, with the border between stage and audience.

by Anita Wach
a MAAT Festival 2013 commission