Firstly… Krzysztof Pastor and "Moving Rooms", a choreography created for Het Nationale Ballet, which has captivated numerous dance stages.

Secondly… Sol León and Paul Lightfoot, one of the leading choreographic duos of our time, performing in Poland for the first time.

Thirdly… Sol León and Paul Lightfoot with two of their most renowned works: "Shutters Shut" and "Subject to Change."

Fourthly… Robert Bondara and his debut exploration of Ravel’s most iconic composition.

“4: Pastor / León & Lightfoot / Bondara” – a story told through movement about building relationships and pushing boundaries. Four exceptional choreographers. Four dimensions of contemporary dance complemented by music from Schnittke, Górecki, Schubert, and Ravel, as well as the poetry of Gertrude Stein. A performance that delves into the heart of the modern world – a journey through the unique and extraordinary experiences of its creators – a sudden illumination of diversity – precision and dynamism.

Because dance has many dimensions… more than four.

"Moving Rooms" (2008)

• Music: Alfred Schnittke – Concerto Grosso I (Cadenza – Rondo – Postludio)
  Henryk Mikołaj Górecki – Concerto for Harpsichord and String Orchestra Op. 40
• Choreography: Krzysztof Pastor
• Costumes: Olivier Haller
• Lighting: Bert Dalhuysen
• Choreographer’s Assistant: Anita Kuskowska

A story of emotions confined in space, accompanied by the music of Schnittke and Górecki. Against a backdrop of geometrical figures drawn with light, the struggle of a person for their place in the world unfolds. Who is our opponent, and who sets the rules on the chessboard of life? "Moving Rooms", created in 2008 for the Dutch National Ballet, immediately impressed Amsterdam and later audiences in the United States, Czech Republic, Finland, China, and Lithuania. It was one of Pastor’s first international works to be staged at the Grand Theatre - National Opera. The suggestiveness of the choreography is heightened by the technical virtuosity and individual expression of the dancers, while the dynamics of "Moving Rooms" suggest that only through motion and action can an individual fully show their character and influence the world. In the finale, the dancers emerge from darkness – how will the audience interpret this?

"Shutters Shut" (2003)

• Music: A fragment of Gertrude Stein’s poem "If I Told Him: A Completed Portrait of Picasso" (1923), read by the author
• Choreography, Set Design, and Costumes: Sol León and Paul Lightfoot
• Lighting: Tom Bevoort
• Choreographer’s Assistants: Chloe Albaret, Olivier Coelfard, Sarah Reynolds

"Shutters Shut" is based on Gertrude Stein’s 1923 poem "If I Told Him: A Completed Portrait of Picasso", part of a decades-long intertextual dialogue between the poet and Pablo Picasso. León and Lightfoot’s choreographic concept not only aligns with the poem’s rhythm as it is read but also expresses, reflects, and complements the words, creating a unique movement language and pantomime. Two dancers captivate with their synchronization: there is no margin for error, no place to hide imperfections, and no opportunity to correct an incomplete step. "Shutters Shut" is not just a display of precision but a thrilling choreographic duel in which, second by second, the audience cannot look away, eager to see if the dancers emerge unscathed.

"Subject to Change" (2003)

• Music: Franz Schubert – String Quartet No. 14 in D minor D 810 "Death and the Maiden"
  Part II: Andante con moto (arr. Gustav Mahler)
• Choreography, Set Design, and Costumes: Sol León and Paul Lightfoot
• Lighting: Tom Bevoort
• Choreographer’s Assistants: Chloe Albaret, Olivier Coelfard

The ballet’s title reflects the phrase printed in the corner of every schedule, cast sheet, and work plan at Nederlands Dans Theater. Three words reminding us that reality often deviates from expectations, adjusts plans, and demands readiness for change. "Subject to Change" is rooted in a personal story of Sol León and Paul Lightfoot – during the creation of the choreography, their friend Ruth was close to death, an immense tragedy for them. This dramatic reality inevitably influenced the creative process. The rehearsal space became their sanctuary, where the act of creation was nearly therapeutic. While no one in the audience knew about their friend’s condition, everyone, in some way, saw it through the art, understood it through the power of dance. This choreography leaves no viewer indifferent, provoking reflection on life’s toughest questions and elevating sensitivity to a whole new level.

"Bolero" (2024)

• Music: Maurice Ravel
• Choreography: Robert Bondara
• Lighting: Wiktor Kuźma
• Costume Assistant: Chiara Ruaro

One of the 20th century’s most renowned compositions, which, despite the failure of its premiere performance, forcefully entered not only concert halls but also pop culture. The snare drum’s ostinato from the beginning, minimal orchestration, and consistently building dynamics in the repeated 18-bar theme. A fundamentally simple compositional idea, drawing on Spanish folklore and jazz influences, is one great crescendo. In the work’s unconventional structure, persistent theme repetition, and distinctive rhythm, Robert Bondara – one of Poland’s most respected choreographers – found a source of choreographic expression. For him, neither the rhythm, escalating dynamics, nor the theme’s repetitiveness constrains creativity. Instead, they open up a space where the combined sensibilities of the choreographer and dancers create a performance of extraordinary artistic value.