Studio Matejka began its activities in October 2010 with two-to-three month intensive research periods.


The  initial period aimed at establishing a common training, one that was applicable to the individual and the ensemble.  The training specifically focused on the development of physical dexterity, articulation, and group tuning. During this period, individual actions began to evolve into creative material.

The next period expanded the research territory by inviting experts in a variety of physical disciplines to lead sessions. In particular dance approaches for theatre practice were re-interpreted. The actor’s individual expressive range was extended while movement remained grounded in action. During this period, the first approaches to ensemble creative material was realized.

In April 2011 a presentation of the work to date was shown at the Grotowski Institute.  This public showing allowed refinement and reflection on the concrete forms being developed. 

A third period of research focused on the possibilities of musicality for further extension of the technical physical work.  Rhythm and song were incorporated into the existing work as well as explored as their own pathways to action. Group improvisations developed into creative material for duets.

The fourth period of research further developed group improvisation through refining the collaborative creative processes available within the ensemble.  This period realized the Studio’s unique approach to the creation of solo compositions.  Furthermore six short films were conceived and shot in and around Wroclaw.

In March 2012, the Studio shared the results of its research in a ninety-minute work presentation called "Zero point, before and after". The presentation was comprised of training fragments that evolved into composed structures, filmed interviews with the performers, two of the short films, and a glimpse into the future theatrical performances.

Presently Studio Matejka’s research continues under the auspices of The Grotowski Institute.  Its activities are expanding into the preparation of performances, films and educational sharings.


The task set before the Studio is to create an environment where the amount of creativity for all concerned is equal, where the measurement of correct and incorrect is obsolete, where the main measurement of quality is commitment.

The aim is to establish a theatrical research in which the actor’s processes remain as observable traces within the performance work. These traces are important to preserve. They  contribute to the development of the performer’s profession, a profession that still has potential for further development and exploration.

"My question wasn't primarily what kind of exercises we should do because I was lucky to work for a couple of years with Teatr ZAR and before them with Farm in the Cave as an actor as well as one of the leaders of the training. My question was rather which exercises have a potential to train and at the same time be a gate to the creative source for the performer. How from that stage of creativity which is the actual moment of improvisation can we capture the material in it's most vivid way? Many of our exercises have an indirect link to exercises or practices from Jerzy Grotowski and his collaborators. Yet we never focused on them for the historical link, rather we used them as a trampoline for our own research, perhaps sometimes even with ignorance, though always with our own context of time and feelings." Matej Matejka