Agata Adamiecka-Sitek, Marta Malikowska
Nakedly and Tenderly. Agata Adamiecka-Sitek in conversation with Marta Malikowska
Abstract
Agata Adamiecka-Sitek talks with Marta Malikowska, Polish actress and co-director of the play Malina. Three artists meet on stage: the actress Marta Malikowska, fascinated by yoga and traditional singing; anthropologist, singer, expert and propagator of folk music Maniucha Bikont and Karolina Kraczkowska - performer and choreographer. The artists jointly carry out an artistic and anthropological experiment, combining Far Eastern inspirations with the Eastern European tradition of folk singing, emancipation strategies and a meditation session. They create the Church of the Invisible Pink Unicorn dedicated to the Yogi Mother of God.
Keywords
Interview; Queer
Agata Adamiecka-Sitek
(1974) is a theatre researcher, critic and publisher. An author of the book Teatr i tekst. Inscenizacja w teatrze postmodernistycznym (Theatre and Text. Staging in Postmodern Theatre, 2006). She deals with issues of gender, corporeality and political art, as well as issues of institutional criticism. Editor of many books about Polish theatre and performance culture. Member of the editorial board of the Polish Theathe Journal and the curatorial team of the Forum of the Future of Culture. Worked with Marta Górnicka on the Chorus of Women project. Teaches at the National Academy of Dramatic Art.
Marta Malikowska
(1982) is a Polish actress, performer, singer. Her artistic achievements include over 50 roles in the theatre, film and music videos. In 2006 she was awarded the film debut at the Gdynia Film Festival. She created a role of Pazina in the best Polish series 2018 'Blind from Lights', dir. Krzysztof Skonieczny.
In 2018, she won the "Placówka" Theatre Institute competition, which allowed her to prepare the play Malina. Co-leader of the musical group Malikowska and Brożek. She was described by Ilona Słojewska: 'If someone asked on which side of the world Marta Malikowska is, this is where full handfuls of cherries are bursting from the tree, where there is a chance for conducting artistic experiments. With voice, with body, with transformation of words into body language. It's where you can travel from the first rehearsal to the premiere with the character she creates to discover something new in herself and give it to viewers. And the direction of the world in which she feels best is East. Because it gives rise to everything.'
