路明斯基所給予的訓練，整體而言，是奠基於探索的：探討不同原理，以及研究各式各樣不同質地、能夠將他的肢體律動理念以戲劇性語言(theatrical idiom)展現出來的技藝。在訓練過程中，路明斯基運用深植於Peripetea(一種劇情突然轉變的戲劇概念)的一套模式，強調身體律動與思考過程的直接關係。Peripetea為進行廣博探索的起點 — 讓學員們接觸並感受自身之否定(negation)、對立(opposition)、等同(equivalence)、思忖意念(thinking the thought)、同質的雙邏輯(twin logics)、遺漏(omission) 、膨脹 (dilation)，碎裂與重構(fragmentation and reconstruction)，串連與同時性(concatenation and simultaneity)等種種不同的情操。
Prof. JACEK ŁUMIŃSKI
Technique and Style
Luminski’s performances are deconstructions of everyday structures based on theories developed by Barba, Grotowski, Savarese and supported by his own research in artistic expressions present in contemporary folk cultures in Poland.
Luminski has developed a unique dance technique that has evolved through his twenty years of research on Polish folklore and folk traditions of Polish Jews. His work may reflect, for example a certain sense of space, unique to communities of Podhale that is related to their traditional feeling of freedom and independence drawing the complex rhythms of their music and the power of open-throat singing. By the same token, an analysis of Jewish songs, legends, superstitions, customs, rituals, and dance forms – the importance of the palm of the hand, pelvis, chest, and spine – have also deeply influenced Luminski’s style and technique. The dancers float in space, connecting internal and external worlds, and going beyond them with the use of technical skills enriched with psychophysical tools and mental power reflecting the Hassidic tradition of dance as a conversation with God. Luminski’s unique concept of dance, with its forward-looking innovation rooted in folk traditions, has earned him an international reputation. In 1995 New York Times critic Anna Kisselgoff wrote: “A distinct signature emerges from Mr. Luminski’s approach to both form and content. The dancers tear into space with ferocious power and whiplash speed, qualities that spring from kinetic force in the choreographer’s idiom. His works are intense, obsessive in their picture of abstract emotions.” From Johannesburg, South Africa, in 1996, Adrienne Sichel wrote in “The Star”: “Luminski and his Silesian Dance Theatre are major role models. His demanding technique and sweeping choreographies are distillations of Polish and Jewish folklore elements. A physical breadth of movement is fused with an intrinsically musical fluidity and searing spirituality. On the surface, Luminski’s dances and eight dancers are smoothly sophisticated but, as he unveils the soul, capillaries of distress, of disquiet, sporadically surface.” And Miriam Seidel wrote in “Philadelphia Inquirer” in 2001: “This is a work with sweep and heart that confirms Luminski’s engagement with rich, involving theatrical language.”
For Luminski technique is not limited to bodily movement. It is a concept that reflects nature of thought; activity of human brain; it may go into exploration of voice, mentality, psychological traits. It is very much like acting - both acting and moving are integral part of technique. The dancers are becoming transmitters of the ideas – it is transparent in their performance. They also transmit “secrets”, which is their personal knowledge, personal experiences, point of views and philosophy. These secrets are like packets of particles or seeds which if well cultivated may flourish; they may become potential nutriment for spiritual lives of a community. Luminski’s training offer is based on exploration of principles and craft of a variety of virtues that make his concept of bodily movement function in a theatrical idiom. In the process of mastering physical movement in direct association with thinking process Luminski deploys a set of principles embedded in Peripetea (theatrical concept). Peripetea is a starting point for extensive exploration which connects the students with the virtues of negation, opposition, equivalence, thinking the thought, twin logics, omission, dilation, fragmentation and reconstruction, concatenation and simultaneity, etc In 1991 Luminski established Silesian Dance Theatre in Bytom (Silesia) the premiere contemporary dance company of Poland, an institution dedicated to the development and to the promotion of dance art on both national and international scale. As executive and artistic director of the Silesian Dance Theatre he designed educational and community outreach programs that efficiently help both dance promotion and audience development goals. Lobbying for contemporary dance in government circles as well as consistent support for programming dance workshops, critical and historical dance writing, arts management supports proliferation of dance knowledge and increases appreciation for dance. In 2005 the Silesian Dance Theatre in co-operation with six European dance schools (Folkwang Hohschule in Germany, CODARTS in Holland, Bruckner University in Austria, Dartington College of the Arts, LIPA, and Bath Spa University in UK) under Luminski’s guidance supported by Leonardo da Vinci EU Program developed the first country’s accredited university dance curriculum.
There are multiple reasons of his international acclaim; numerous awards followed his incredible achievements in developing a unique style, technique and breathtaking form of dance theatre. Luminski’s reputation is an effect of consistency and commitment to both the art form and the community. On the other hand it is embedded in his uncompromising search for spirit and truth. Luminski’s Work with a signature was developed from his fascinations with cultural traditions of Polish Jewry and Polish folklore. The fascination was reflected in his thorough research in this field, his dance works and dance publications.
Luminski’s long list of awards, grants and scholarships for creating a new style and form of contemporary dance includes, among others, Ben Sommers Capezio Award (USA/Israel) in 1986, Ballett International Fellowship (Germany) in 1988, United States Information Agency – Visiting Artist (USA) in 1992, Trust for Mutual Understanding/Suitcase Fund Fellowship (USA) in 1993, 1994, ArtsLink Fellowship (USA) in 1994, „Złota Maska” (Golden Theatre Mask for the development of the new form of theatre) of Katowice Voivodship (Poland) in 1995, Mc-Knight Fellowship (USA) in 1996, „Złota Maska” (Golden Theatre Mask for WK-70 dance theatre piece) of Katowice Voivodship in 1997, Pilar of the Report in 2003 (awarded by business community), Golden Cross of Merits in 2004, Golden Honorary Medal of Merits for Silesian Voivodship in 2005, International Theatre Institute (ITI) Theatre Critics Award (2009). Subinoy Chakraborty Smirti Purashar, Calcutta, India (2009) Silver Cross of Merits in Culture “Glora Artis” (2011)
Luminski also teaches workshops in Poland and abroad (including with USA, Canada, Israel, Austria, and UK). Critics of newspapers and magazines, such as The New York Times (USA), Ballet International (Germany), Dance Magazine (USA), and Tanz Affiche (Austria) analyzed his style and technique in detail. Since 2000 he is a Curator of Contemporary Dance Co-production Fund (EU Program). In 2000 became a Lang Professor of Social Change in Swarthmore College (USA). Since 2004 he works under Professor Anya Peterson Royce towards PhD in Performing Arts at Anthropology Department of Indiana University, Bloomington (USA). It is going to be Luminski’s second doctoral degree as the first one he earned from the State Drama School in Kraków (Poland) in Theatrical Arts. Since 2008 he occupies a position of Dean of Dance Theatre Department.