The interaction of the body and the medium immediately surrounding it were what defined physicality.I define a stage not with lighting but with the senses of the audience, even as defined by what they hear. The lighting works as an autonomous element, running on random program, not following the dramaturgy of the piece.
- The performer is present physically, as a body, as a functioning system, and can also appear in possession of consciousness, sensitivity, meaning, and humanity.
- Physicality is not only a visual element–it can also be heard: the inevitable fact that bodies create sound when interacting with their surroundings; this was also important. The noise of interaction.
- The “dressed/undressed” question interested us in two ways.
1. When we see body parts covered or exposed by dressing and undressing, and then in total nakedness, what tangible pictures or content does the audience conjure up unintentionally?
2. In time, can the continuous variation of covering and exposing the body lose its importance, its meaning?
Am I able to focus on the action and forget about the nudity and the intermittently exposed sex organs?
- During rehearsal, will was a keyword, one which was validated most of all in one-way movements in space and by confronting limits; to maintain movement in one direction through everything, for as long as the limits allowed.
- We wanted to use the music to show absence and imply, through absence, the existence of a whole. If something happens for a short time as a fragment, its discontinuation draws attention to the possibility that a whole could exist for a longer period.
„Wondering about unconstraint.”
„How will we dance if there was not space limits? How will dance persist beyond the walls of the studio or a body of a colleague, beyond movements phrasing, beyond our talent, beyond visibility? What if I could not sense space limits? What if I could not sense long duration movement phrase? What if I would be trapped in loops?”
“There is no other way to express a recognized truth than to reconstruct deconstructed reality in the inspiration of that recognition. It is widely recognized in physics that if you take something apart, it will no longer be what it was. The artist must therefore differ from the scientist, doing research that is infinitely layered while remembering the whole and insisting on integrity, basing every part on a sense of union. The artist’s analytical work is forever accompanied by a liveliness, as the artist feels every vibrating law of birth, growth, and the principles of life, and allows them to function to the artist’s advantage.”
Miklós Erdély: Montázs-éhség [Hunger for montage],
Published in Valóság, 1966/No.4.