The Dada von Bzdülöw Theatre from Poland presents an INTRO

The Rehearsal for Truth theater festival honoring Vaclav Havel provides a platform for artists from the Central Europe to perform in New York City this fall. On Sunday, October 1 at 7 pm, The Dada von Bzdülöw Theatre, from Gdańsk, Poland, will present the production entitled INTRO.

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The production is choreographed and performed by Katarzyna Chmielewska, Katarzyna Ustowska, Leszek Bzdyl, and Piotr Stanek

“INTRO” by Dada von Bzdülöw Theatre, Anno Domini 2015, draws inspiration, recognition and nervous melancholy from the undying spirit of the Dada movement, which – as its Apostles used to say – was, is and will be. 99 years after the emanation of Dada in Zurich (AD 1916), accompanied by the scent of blood from the trenches of Verdun, national exultation, and the revelations of Fatima – Azazel or whatever he happens to be called by the Talmudists or the Islamists – debuted in Poland. Under the wings of Azazel, Poland has become a thesis, synthesis and antithesis at the same time. Under the authority of Azazel, there’s a growing conviction in a Pole that ONE means more than MANY.

Dada Theatre, inspired by the spirit of dada, is going to rip the veil off it, and reveal the deadly face of the Angel of Death; it’s going to laugh in the face of the Angel of Death. Dada von Bzdülöw Theatre in the play “INTRO”, both mockingly and desperately, shouts out: Dada is Polska!!! The shouting and dance of Dada von Bzdülöw Theatre is accompanied by a musical band Nagrobki /Gravestones/.

The production will be performed in Polish with English subtitles.


“Intro” with absurd black humour, desacralizing it all, can do more than all reasonable discussions infested with scientific arguments together. A concoction of red and white symbols, sharp sounds of vuvuzelas, explosives, Polish Green-legged chickens, demonic Muslim women, all of that makes us find certain distance that the present reality seems to lack so much. Yet, it is a provocation for provocation, as dictates uninhibited by anything imagination of dadaists. Because first and foremost “Intro” is a challenge, faced by all our myths. Anna Jazgarska, Teatralny pl

 “Intro” is not a lightweight performance, easy and enjoyable. It entices with dance attraction and originality in choreographic exploration of expression, but leaves the viewer many a times in a dark alley, where you can’t know whether still laugh or already start being serious. It enters into a discussion on national identity, and shows how little space for freedom remains, when xenophobia comes along with total disengagement, mistakenly defined as tolerance. Can “Intro” thus, with its ironic and grotesque message, take a stand in this difficult and uncomfortable social discourse? Further than the wall we cannot go, but the plaster may start chipping off. Anna Kołodziejska, Teatralia

 Absurd and mocking humour is one of the greatest values of the performance. Thanks to it, this national paranoia, according to which diversity should be turned into uniformity, stops to seem so overwhelming and dangerous. (…) In this wicked and pawky show also music plays a major role, as it used in Dada’s productions – this time created by a group called Nagrobki /Gravestones/, so Adam Witkowski and Maciek Solomon. Full of punk energy, with dirty guitar and drums, this music adds aggressiveness to collective dance scenes, while lyrics like “Thank you, Mom, for the gift of life, the next time you might ask,” only remind us that nothing happens here in earnest. Because why should it? It’s still Dada von Bzdülöw. Aleksandra Lamek, Gazeta Wyborcza, Trójmiasto

 It often happens that a contemporary dance performance finds it difficult to get the message across, however, in the case of “Intro”, we are dealing with being rather overly communicative. I hope that the “Intro” is an introduction not only to a grand celebration of the 100th anniversary of Dada, but will inspire others as well. I really hope that the show so excellently performed by Leszek Bzdyl’s crew will resonate around. Piotr Wyszomirski, Gazeta Świętojańska

We have here some finest dance, sense of humour and omnipresent irony. In one of the scenes played by Chmielewska, a Croat character standing in the spotlight in front of the microphone, with a pulled face so tense with excitement, ready for an expose of perhaps historical significance, suddenly… walks away; without a word; the balloon of emotions bursts out; but what a bang! Gabriela Pewińska, Polska Dziennik Bałtycki

The performance will take place in the Ballroom at the Bohemian National Hall The talk back session after the show will be introduced by Anna Galas-Kosil followed by an Afterparty reception at BNH Ballroom Bar

To Book FREE Tickets:


For the Full Program Click HERE

For more information, contact:

Pavla Niklova, Executive Director Vaclav Havel Library Foundation, Cell: +1 917 847-4342