“Is any presentation, performance art, or intuitive improvisation today capable of reconquering for us that purifying experience and content that is so necessary and primal? (…) The new HODWORKS performance addresses just this question, with the formation of an environment that becomes the model for psycho-sexuality, body and time, space, presence, and silence, as well as the subconscious “Go Naked For a Sign” message and soundscape of Hakim Bey. This is to say the creation of a space without any form of didacticism, through intense- therefore involved- experience.”
Private review for the piece Ahogy azt az apám elképzelte [The Way my Father Imagined It All] by Zsolt Sőrés, 6 May 2012.
“Adrienn Hód’s newest collaboration with Csaba Molnár and Marco Torrice questions the limits of dance while it overturns its established framework: the black curtains and floor bordering the space, the music from the everyday world, and the cave of illusion separated by darkness.”
“Dealing with limits designates a small but conceptually rich space for movement, which is filled with playful irony and meditative sadness.”
“It is not an easy piece, which is to say only that masses of people are not likely to connect to this type of conceptualism. This is, indeed, irrelevant from the point of view of the creative artist, especially when we see the profound and sensitive work of these four talented performers.”
Apám és a kortárstánc- [My Father and Contemporary Dance], Critique by Anikó Varga, published 6 May 2012, revizoronline.hu
“A slow, unruly piece with autonomous structure, intensive atmosphere, rich in sinister and playful notes.”
“The Way My Father Imagined It All: this fine title, with its autobiographical feel, may lead us astray. It is not apparent what “father” figure is in play. The game is marked by a certain “more than meets the eye” quality. Does the title reflect naivité? Does it suggest disappointment or lost hope?
Színlebontás- [Defacement], Critique by Tamás Halász,
published 24 April 2012, kultura.hu
“Presentations that ask (and do not stake claims) are good in that they afford the audience uncertainty. And uncertainty is one of the most creative, valuable, and exciting mental states. This presentation is nothing but questions. No answers, no statements. In every calculated or careless moment, Adrienn Hód, Csaba Molnár, and Marco Torrice’s collaboration asks questions about the basic concepts of dance, space, and the body. It is as if the gigantic wealth of knowledge and experience about movement and the body, compiled for centuries, what we call the universal art of dance–as if it did not exist. As if it had to start again at the beginning–from scratch.”
“Movement erupts from the dancers just so, with that unabashed ease with which we sip, blink, step, or raise our hands. They begin movements and interrupt them, jump into and out of dance the way children begin to speak, as strands of speech or fragments of sentences leave their mouths.
Az ismeretlen kutatása- [Research into the unknown], Critique by Csaba Králl, published on tanckritika.hu