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Reportedly, a severed head retains consciousness for another 6 to 7 seconds. If one could exchange a few more words with it, perhaps we could learn something important about the motivations of a decapitated head.

21st October 1893 saw the opening of the theatre at Plac Św. Ducha in Krakow. The new building was beautiful, modern, and the first in the city to be illuminated with electric energy

'Minimalism at its most lush and ornate’— Pitchfork

'Another staggering accomplishment from a man who has taken the possibilities of composition and improvisation to new heights, fusing the fervor he strives to endure as a performer with the promise of creating an expansive sonic landscape for his audience that’s teeming with life and bounding with possibility' — Tiny Mix Tapes

The first concert of 2019 – which will be organised as part of the Słowacki Theatre ‘Something Must Break’ project connected with the OFF Festival – will present a band called PHURPA. On 9 March, the Moscow group will take the audience into the depths of the ancient musical culture of Tibet.

Day →  4.06.2019 r.
Start → 20:00

Shonen Knife - from Osaka, Japan - formed in 1981 by sisters Naoko & Atsuko, long before terms like ‘riot girrrl’ and ‘girl rock’ entered the lexicon, the all-female trio were happily snapping guitar strings to the sound of imported Ramones covers.

A play based on the book ‘Simona. Opowieść o niezwyczajnym życiu Simony Kossak’ [‘Simona. A Story of the Extraordinary Life of Simona Kossak’] by Anna Kamińska, published by Wydawnictwo Literackie in Krakow.

'Simona K.' tells the story of a woman who is not easy to understand, and who is difficult to love. Simona Kossak is not a forest angel saving deer, birds and trees. She’s a flesh and blood persona.

Eugenia Balakireva on The Island: ‘My main inspiration for this performance is the story of my family, whose roots lie in the small village of Pachomovo. A village that was flooded in the 1960s when a large reservoir for the Vileika-Minsk water system was constructed in its area. When I was a child, my grandmother would often tell me about her childhood in this village. About her grandparents, family gatherings and how she used to boil eggs in the sand by the lake adjacent to their house. She would tell me about it all with great sadness as she knew that for me it was just another fairy tale, and that I would never be able to experience what she had been deprived of as a child. My mother is certain that these generational migrations, connecting her, my grandmother, my aunt and me (we all live in different countries and do not own our homes), stem from the trauma my grandmother experienced as a result of these events. I do not know if this is true or not. All I know is that my whole life I have longed for something that does not exist, and in this performance I would like to touch on that something, even if only for a fleeting moment.

Inspired by the past and drawing on the present, I would like, however, to try to touch on the future in this performance, which – from the perspective of my generation – does not look very bright. My question is: are we, as humanity, ready for it? Will we pass the test of humanity when entire countries go under water?