Pure, clear, vulnerable, open, strength, love, ecstasy
Drama and arias
„Using a rough, raw quality to express, forming the mass of sounds and movements, the „inarticulate” with no meaning, building from inconsciousness, from letting go.”
„Every structured article brings an inarticulate quailty in itself. What makes something structured, accepted, or familiar? What do we think order is? The proportions? What feels good for us and what does not? What is order and what is disorder? What is allowed and what’s not? Prejudice, rules and norms. What is the relation towards our acquired knowledge, towards our socialization? What are those things I would like to get rid off, not to live with it, not to pass on to my descendants.”
„Making the material (the body) moving, without any meaning, letting it go into a movement. Making vocal cords vibrating. Body and voice are equal.”
„The clothes are used as a new material, it is formed and shaped by the movements, it is given a new function. Destroying the tailored forms by will and by physicality. A tool for getting in touch with the others. It is abstracted, its colours and forms shape a new space and fill it. Dramatical costumes created from H&M.”
Personal stories = History of humanity?
Forming the others
Re-learn how to feel
An exalted state, an agitated existence, excitedness, the sens of BEING
Using the ability of love
„We celebrate mortality, we laugh together at our chances that had been given to us, that we give to the others and to ourselves.”
„Not being sticked to anything, accepting changing energies.
„Experiencing real sweating, the feelings, the odours, in a community, experiencing the ability of accepting.”
„Forgetting everything of human beings”
„We learn this planet”
„The ability of creation and the daily longing for freedom which enjoys no method.”
„Magical as result of the experience hunt.”
„Is there pleasure in what I’m in? And what is the potential for creation on it?
„How much joy I afford? How much joy I allow?
„Are we able to let go from sorrows, guilty or greed and give out to playfulness?
„Longing for pleasure and joy.”
„Strengthening sensation to open the body with less conscience and boundlessness.”
„-Become another through the other „
„As if would be this ritual of mortality.”
„I try to kill this dance, but it grows again in me, and blossom, and renew. It transforms from mass to energy.”
„Killing the dance celebrates its momentary life, celebrates me as a-historical and in some instance make me feel happy, because -way- I do what I do doesn’t become even a question.„
„As if I would try to triumph reality.”
„I am asserting humanness through experiences.”
„…its hard to distinguish true (visible) and projected (maybe not visible) informations.”
„Humans (dancers) are the motors and the origin of the problem, they gives reason for the piece to happen.Their position on the scale between hell and heaven and the need to change and experience different states and places with no judgement, manifests the existence of divine quality.”
„We get on a path. Sometimes it hurts my body, sometimes it reminds my of being a kid and being tickled. Also a kind-of lust which is not related to sex, it is rather a slower sensation, sneezing-like. Then my desire takes me, triggering a change, or I feel a common desire in the group taking me to another space-time.”
„Take me from myself. Or I’ll enchante you by my muscle of my arm.”
Notes on the rehearsals of the new performance
During the rehearsal period of the new performance the company continues its ‘meta’ (i.e. creating its own language) research in the field of eurhythmics where the operation of the intuitive, flexible and unpredictably fluid movement material creates an undercurrent structure to the show.
In the space of the new piece the increasingly abstract and at the same time sensitive language of the previous performances is supplemented with a metaphorical and allegorical interpretation of reality. All this happens through interactive processes between actual elements of movement language as well as between dancers, and is assisted by the “costumes” and the poignant and sensitive humor which is sometimes rough and fights taboos but other times is rather sophisticated.
1. Costume Typology:
The clear, symbolic or formal (i.e. as part of stage design) function of costume here is not simply “clothes worn on stage”. Costume, as a creative tool to smoothly operate the performance space, is an active element of the play. The dancers’ apparels are removed from their traditional functions as they are fragmentary (the artists are never fully dressed) and their pieces are being swapped. The costumes are means of expression which help to create further interactions and each of their versions results in new metaphors, cultural references or interplays of behavior patterns. The artists exploit the reinterpretation of clothes as gender symbols as well as the blending of genders. Masculinity and femininity are merged then broken down again (to become sexes again) just to spontaneously create new mixtures and associative “forms”. This playful approach to costumes has unintentionally become an element of the organically evolving rules of the performance. Such carefree play with the costumes anthropomorphizes their nature as objects by centralizing and thus fetishizing certain garments which become carriers of emotions and references, accordingly to the mechanisms actually described by the creator of the phrase “intermedia”, Fluxus artist Dick Higgins in 1977: “I desire therefore I am. I am what I do. I do what I can. I can therefore I desire.”
2. Movement as allegorical narrative:
The two female and two male dancers of the quartet create the horizon of our own specific androgynous existence through their “blending”. Glints of both female and male sexuality, and creating “fe/male beings of double nature” strained by the antagonisms of the play with abstract and sensual body language and with sexuality are the allegory of alchemists’ prima materia which in itself is characterized by resolving its own inherent polar opposites. One of the ideas of Gnosis, namely that every process of creation is in a way procreation thus both a female element and a male element–which at the beginning was one and inseparable and resolved in one another in the end–are needed, is also present here. In Gnostic symbolism this is the both (transcendentally) holy and (in its physical and bodily nature) profane marriage of Sophia (wisdom) and Soter (savior) which explains why the single androgynous being is often replaced by a reproductive embrace, i.e. “chemical nuptials”. The androgynous being created by dance is the allegory of human’s unity as well as of connections through sympathy. When one half of a being is placed in a so called pathos (emotion or passion), it means the other half experiences another, analogue type of “artistic” pathos. (The magic of analogy: through it a story or rather a fragmented chain of events is told and represented and the desired analogon is evoked ex opere operatio.)
As one of the most active members of the anarchist and psychedelic artistic community Ruigoord, the Dutch avant-garde poet Hans Plomp wrote in 1990: „It is the task of visionaries and artists to map out the regions of collective unconscious. We have to create a visionary culture that connects the collective unconscious to other forms of human existence, to the meaning of life.”
3. Referentiality and performativity–Summoning the Sufi way
Unlike in classical theatre, the dancers’ bodies are not the executors of the bodies and actions of fictional characters but they functionalize their own bodies in a way that they themselves exist in propria persona: whatever they do belongs to them, they do not represent others’ worlds but the language of their own art; they bring forward their own system of gestures and their own world evolved during their long and intense creative period–performativity is prioritized against referentiality.
By evoking the Sufi Path of Love (via Rúmí’s poetry which represents the elementary spiritual yet complex existential experience of the whirling dervish with its cosmic divine and at the same time mundane understanding of love) however these referential content elements become concrete and actual markers, i.e. dramaturgical benchmarks. As if sometimes–hidden, of course, in the abstract structure of the performance–a chador on a dancer’s head, a characteristic garment, a fragment of a movement or some spirited mood appeared. Referentiality though is primarily about the production of an artefact relating to the creation of the language of dance: the existence of the whirling dervish finds mystical understanding via a trance resulting from continuous movement thus conferring the legitimacy of dance as the way to recognizing and experiencing God’s closeness: “Dancing is not rising to your feet painlessly / like a speck of dust blown around in the wind / dancing is when you rise above worlds / tearing your heart into pieces / and giving up your soul.” (Rúmi)
Budapest, 2 August 2014