More less, less more

Actors move in white, unreal/illusory space. They seem as if in soap bubble or in... heaven. In another words, in the place where are no incidents/events and only human thoughts matters. In this bizarre world only feel of self-consciousness counts. [Dziemidok i Jankowska] exist together, but though apart, they speak different languages - figuratively and literally.

[...]

She dances through the stage in prestement movements, tries to remain unnoticed, hidden and unseen. And at the same time He attempts to come into being at any price - from macho man with no effort He becomes weakling in order to make audience laugh, He can be slender, fit and funny.

[...]

It was a pleasant feeling to tear oneself away for a while from everyday life/existence to think of such fugitive thing like our desires are.

Sandra Wilk, "Rzeczpospolita" (21.11.2005)

 

 

More movement in dance

"2moreless", an experiment situated on the edge of arithmetic and fitness classes.

[...]

A dancer bites into her partner's thigh, than bursts out with an English monologue or swings with erotic steps of Josephine Baker.

[...]

Dziemidok rocks his hips like a Hawaiian belly dancer, and when he ascends on the white cube his figure mounts to sizes of an African totem.

[...]

I am just waiting when bearlike Dziemidok, and his physiognomy of Kojak, will perform as sweet baby doll, and elf Jankowska becomes a basketball champion or disappears on audience view.

Joanna Derkaczew, "Gazeta Wyborcza" (24.11.2005)

 

 

Laurel and Hardy dance

2MORELESS is a minimalist performance made for two dancers [...], where the physical opposition between them is preserved and used till the end. All their partnering automatically becomes comical, since the lack of proportion and compatibility make us laugh. Dziemidok going against his physique suggesting the macho image, more often then not, both with his face and movement creates an incredibly subtle character.

[...]

The white space, where the artists function, is contrasted with their black outfits, which creates the effect of simplicity corresponding with the minimalist movement design.

[...]

Dance in the choreography of Jankowska i Dziemidok is scarce, slowed down, concentrated, often based on the repetition of sequences. Movement is the main medium of the piece.

[...]

Big advantage of Koncentrat is a display of new aesthetics in dance; beauty which does not spur from ideal proportions, symmetry and classical ideal.

Anna Królica, NowyTaniec.PL (12.11.2006)

 

 

A very formal, physical piece, with repetitious movement sequences. It is not dance, it is movement. They exercise, they exercise with each other, they exercise each other. one copuld say: clean, thought out form without decorative extras: with distance and humor. He as a Swan from Swan Puddle will make everyone laugh; she, incredibly seriously treating her habits will be equally funny. It is interesting how this tiny splash of humor can take over the audience. Otherwise, her difficult, isometric combinations, impossible to perform or even to imagine by most of the audience would built distance, probably leading to incomprehension. But luckily dancers show us their weaknesses, petty-mindedness, so the spectators sigh with relief. It is not so bad, their body seem to tell us, we have something in common: I also like coffee in the morning, lady on the love surely likes to dominate, gentleman in the first row needs tenderness even if he never admits it (out loud). Dancers are human? Bruised legs, scratched and burnt feet are out there to be seen. So our inside is bruised mental burns and scratched. We hide it, they show it to us. We in the dark audience, they on the lit stage - divided. Only when divided we can share our intimacy, we share it with each other.

Jadwiga Majewska, Reactivation or another awakening,
Didaskalia, December 2008