Lublin Dance Theatre was established in 2001 by Hanna Strzemiecka, the Theatre's first choreographer and artistic director,  Anna Żak, Ryszard Kalinowski and Wojciech Kaproń, members of the Contemporary Dance Group of Lublin University of Technology. This Group has been one of the first, independent contemporary dance theatres in Poland, and after several years from the start of its operation the Group developed its own original style and started to be recognised in Poland and abroad. Thanks to the consistent implementation of their artistic mission a professional dance theatre was established at the Culture Centre in Lublin.

The artistic shape of particular performances is being worked out in the process of individual exploration of each of the theatre's members, who build their own, specific dramaturgy and estetics.

Lublin Dance Theatre has been undertaking numerous artistic and educational initiatives aiming at promotion of the contemporary dance art, as a means of expression full of intellectual and emotional potency. Special attention is being paid to the cooperation with cultural institutions in Poland and abroad focusing on creating a net of centers promoting contemporary dance through stage presentations, workshops, lectures, exhibitions, video projections, as well as dance events organized in "non-theatrical" places. 

"NN. A tribute to Vaclav Nijinsky"

Choreography: Ryszard Kalinowski
Dancers: Wojciech Kaproń, Ryszard Kalinowski
Music: Piotr Kurek
Light: James Clotfelter, Grzegorz Polak
Visualisation: Aleksander Janas
Duration: 45 minutes
Production: Culture Centre in Lublin
Premiere: 2008

"Poland's Lublin Dance Theater impressed with a duet. Both figures were male and much of their world was the color white. They also wore white, one man a white nightshirt and the other tight white trousers. Often they engaged one another in movement but each also seemed to engage with himself. Both the separate and joint action gave the impression that declarations were being made. Muscular effort and contortions of limbs, neck and torso such as those made by Michelangelo's models lent  the proceedings an epic dimension yet there was, too, an undertone of anxiety. Both men were fine physical specimens, which became fully apparent when they stripped to white diaper briefs. As they did diverse things with and to each other one wondered whether they were patient and nurse, lovers, roommates, all of the foregoing or none of the above. What mattered? That movement themes grew, modulated and developed. That there was both consistency and invention. That a dynamic logic became established. And that there was counterpoint between the men's personal feelings and a sense of saga."

George Jackson,, USA


Direction and dance: Wojciech Kaproń
Music: Konrad Chyl
Visual design: Aleksander Janas, Robert Zajac (
Duration: 40’
Production: „Teatr Centralny – CK w Lublinie“

Point as a form of non-existence, cosmos, soundless simple form, subordinated to the internal tension and on the external impulses, creates the structure of a line, which appropriately impregnated, may generate various types of emotions.
The spectacle was inspired by the painting of Wassily Kandinsky as well as by his theoretical works, especially by the publication “Point and Line to Plane”.

Considerations of the great artist, Kaproń develops unconventionally, completely astonishing. Originally, the choreographic assumption “dehumanizes” the dancer, reduces him to a graphic symbol of its type. However, this elementary symbol, animated point, firstly determines multidimensional space and subsequently he fills it up. Originally, the impression of coolness and impassiveness could be observed, but it doesn’t mean at all that the spectacle is deprived of emotions”.

“He dances masterfully, the critics have been admitting for a long time, that Kaproń belongs to the top group of Polish best dancers. This gives an idea about his choreographic imagination, but this is not the end. In his spectacle, he moves much further. He creates a suggestive vision of universum, in which the echoes of the Great Explosion theory may be easily observed. And he locates it in brilliantly created (by Aleksander Janas and Robert Zając) visual and acoustic spaces. Following of the way from the point to the macro cosmos is an unusual experience, completely fascinating”.

Andrzej Z. Kowalczyk, „Kurier Lubelski”