Passion makes human rise not only above himself, but also above the limits of your mortality and earthliness, and - by lifting him so high - destroys him. [...] The moth's longing for the stars is not pure because the stars hang high in the sky, but because it is the longing of a moth that, feeding on so first aspirations, represents a contradiction of our nature.
[Carl Gustav Jung „Symbols of Transformation”]
What makes a moth risk so much to be close to the light? What is this dance of the moth with the flame, the dance of life and death, reason and instinct? What does the moth feel as it approaches its annihilating fulfillment? Or is it driven by the pleasure of knowing?
Ecstasy does not have only one side. It can be a tool to relieve tension in the body, achieve a state of happiness and joy or a means to achieve harmony between man and the absolute. It can be visionary, intellectual or amorous. It can be a mystical or philosophical experience, more or less subtle, euphoric or naive, more physical or purely mental. Thus, the term "ecstasy" broadens its meaning through a mental, ritual and mystical experience, thus moving away from a purely physical experience.
The spectacle takes us on a symbolic journey to the world of a moth whose blind and imprudent pursuit of light is the result of considerations about the human nature, which leads to self-destruction, war and destruction of the natural environment.
The spectacle "Moth Song" by Marlena Niestrój is a spectacle about human nature, which pulls on itself the divine element, which is creative and destructive as well. The project is a performative and visual solo show. It is an attempt to combine the dance of emotions (human scale) with a mystical experience (divine scale).
Concept, direction, stage design and execution: Marlena Niestrój
Costumes: Sultana Atelier. Patrycja Osińska.
Music (fragments): Brambles (Deep Corridor, Arête), Celestial Floods (Instrumental) , Alef (Sol), Julianna Barwick (Flown)
Lights: Marcin Thomann
Duration: 45 minutes
Premiere: Cultural Institution Katowice City of Gardens, November 5, 2022 at 19 (within VI Metavera Art Festival)
The performance received support in the Teatrogranty program and a scholarship from the Creativity Support Fund.
photo: Rafał Sandecki
Following presentations:
5 kwietnia 2023, Cultural Institution Katowice City of Gardens
19 czerwca 2023, Cultural Institution Katowice City of Gardens (as part of the A Part International Festival of Performing Arts)
1 września 2023, Cultural Institution Katowice City of Gardens
23 maja 2024, Cultural Institution Katowice City of Gardens
Recenzje
The performance was about liberation from bonds, refusal to accept limitations and the suppression of the spirit (violation, undermining, preventing the existence of individual truth). My reflection was particularly focused on movement. If someone has seen a cat moving unsure of its fate, they know that it moves in a rather cartoonish way - it walks sideways with its head lowered. He seems to be heading towards his goal, but the movement of his body actually contradicts it. A similar phenomenon can be observed in humans. Free people take up space differently than enslaved people do. Fr once wrote about it. prof. Tischner distinguishing between PRISONERS and SPACE RESIDENTS. Those who dance uncompromisingly are free people - SPACE CONQUERERS. However, I don't want to write about the cat, but about the stage movement of the author of the play.
The second part of the performance was an explosion of freedom, in which dance was a manifesto of liberation.The space was supportive rather than embarrassing. She created conditions for enchantment – body, freedom, life, victory. Such sweet and impudent beautiful coquetry. Since I am not a supporter of separating the work from the author, and I am convinced by Bergson's statement that "to be free is to take possession of yourself", I congratulate you even more, Marlena.
(Adriana Zimnowoda)
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