In asking myself How the Hare is Dying, I open a space that is unknown or lost. The hare has rich mythology in many cultures. In ancient Egypt, its hieroglyph acted as the verb 'to be'. By trying to incorporate myself into this animal I hope, if only for a few moments, to make real contact with the audience. To be, together.
What everyone knows about the hare is its way of moving. The hare jumps! And this very dynamic is the logic of my dramaturgy; its rapid, apparently meaningless changes coupled with a faith in intuition and the preparation for self-sacrifice.
[How the Hare is Dying] craftily and strongly engages the emotions of the viewer, not allowing indifferent contemplation. [It] talks about art and reality in a brutal way, responding to the violence of the world with artistic aggression.
Hanna Raszewska-Kursa [trans. Guim Fanaler] taniecPOLSKA.pl
How the Hare is Dying
A performance by Magda Tuka with sound by Opaean
Photos,from top: PatMic, Marta Ankiersztejn, Tamsin Drury(2), Walter Vogel, Maciek Rukasz
it does not have to be understood in the purely intellectual sense, as a logical sentence is to be understood
Joseph Beuys [trans. Guim Fanaler]