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Who can’t be heard?

As Rebecca Solnit writes in “The Mother of All Questions”, the history of silence is the key to the

history of women. MISSPIECE is a personal process of searching for one’s own voice and place in the

world of defined social roles, binary divisions, and masterpieces created by men. An attempt at

breaking the vacuum of the canon and finding herstory there. Discovering the emancipation

potential in house music – a space for manifesting the female voice, and in the body – in constant

movement, creating and processing.


In MISSPIECE, the body is a shelter for the silenced voice and its source at the same time.

choreography/performance: Dominika Wiak

dramaturgy: Marcin Miętus

music: Rafał Ryterski, Aleksander Wnuk (live)

light: Klaudyna Schubert 

scuplture: Dominika Wiak (concept), Jasna Iwan (made by)

promotional photo session: Klaudyna Schubert

graphic: Zofia Karpowicz

production: Krakowskie Centrum Choreograficzne - Nowohuckie Centrum Kultury,

Fundusz Popierania Twórczości ZAiKS

cooperation: Living Space Theatre


fot. Klaudyna Schubert

For most of the performance, the figure is facing the audience. So we mainly observe movement, not seeing the facial expression or physiological reactions of the performer, such as sweat or reddened cheeks. Loud, rhythmic music also drowns the breath. But the movement itself is fascinating. (...) There is something hypnotic and paradoxically unreal about this movement.

Monika Kwaśniewska "Jak same objaśniamy sobie świat" - Didaskalia 

In MISSPIECE, roles and identities are fluid and a chance to exist, highlighting "cracks" that can be filled with non-traditional, feminine as non-masculine content. The dancer's body is not used by her as unreasonable-because-feminine, but as part of what creates a coherent artistic statement. Understandable, but on a different basis - primarily referring to the compassion of viewers and awareness of the fluidity of movement and gestures, their changes, by means of which not so much tells, but primarily exists

and it works, it glorifies.

Michał Korda "Rzeźby tańczą najpłynniej" - Dialog 

It is an aesthetic experience of the coherence of movement, music, costume, prop (sculpture) and the direction of Klaudyna Schubert's lights (minimalist, unobtrusive, yet significant). Misspiece creates a new framework for future dancing and non-dancing, female and non-female bodies. It looks at the potential for repeatability and real estate. It recomposes boredom as the hypnotic aspect of recognizing oppressive patterns. She cannot be tamed.

Pamela Bosak "Miss Voice Miss Body Miss Piece MissTrance" - Didaskalia

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