“Like Zoltan Mizsei’s score, a textured wash of white noise, the movement grew in size and intensity, then simmered down. In this mode, Ms. Garai and Mr. Canabarro repeated the beginnings of affectionate gestures — going in for a hug, touching foreheads — producing a melancholic friction between feeling and doing.”

An Exercise in Stripping to Essentials, Review by Siobhan Burke, The New York Times, 26 November 2014

“(…) denying the audience much of what people find pleasing in dance — graceful movement, melodic music, some kind of story or character development, costumes, sets, a comfy seat at a certain aesthetic distance.”

Hodworked, by Tom Philips

24 November 2014, danceviewtimes.com

„Four bodies in motion, wearing their nakedness as naturally as a bird in flight, a hound crossing the street, or the members of tribes living in the wild, far from civilization.”

„While it is an abstract exchange of touch, contact, and moments, it nonetheless, knows no prohibited zone, no tabooed surface. In the dancers’ movements, there is a carelessness, a lack of precaution or consideration. Every part of the body, every detail, comes intricately into play, from the outer limbs, through the bending torso, to the intimate areas–they all bear the same import.”

„It is to see the work of muscle, the stickiness of sinews, the reddening of the skin, the sweaty force of the body, and the exposure of the many details of some extreme situations; to see open inclines, and hidden crannies.”

Láncreakció [Chain reaction], written by Králl Csaba

Published in Élet és irodalom  [Life and Literature periodical],26 May 2013

„This time, Adrienn Hód has really gone out on a limb.Hodworks’ productions have never shyed away from radical experimentation, or innovation. But Pirkad [Dawn], the follow-up to Ahogy az apám elképzelte [The Way My Father Imagined it All], surpasses every expectation.„

„There is no costume design, and no set either – at least, not in the classical sense. Complete nakedness has a greater impact than simple costumes. It creates qualities unavailable elsewhere. Without clothing, bodies come in direct contact with the dance mat. As a consequence, their skin is drawn across it. Not only does this produce an unbearable sound, but it reddens the skin. So the “reddening of dawn” is brought to life, and presents itself on a homogenous map.”

„Bodies begin to sweat, leaving marks on the stage and changing the nature of some of the movements, as man and woman begin to slide over one another. Nothing is hidden from the viewers; human odor permeates, and we can not turn our attention away from the unconcealed truth. Of the piece’s many virtues, this is its greatest. It presents us with what the human body is, in reality, without shame or embarrassment. There are no niceties, no sugarcoating, and perhaps most importantly, this careless candor liberates us.”

„By some accounts, Pirkad may not even be considered dance, but perhaps some bizarre performance art. Another approach might question, with creedence, whether anything other than this should be considered contemporary dance.”

Merciless Nakedness, written by Felícia András

Published in Ellenfény, 22 May 2013

„I can not say what that was. Elaborate and inadvertant, intimate yet distant, personal and general, it was something of which me must speak, though I am not sure we could if we tried.”

„This is not a simple matter, for while there is nothing embarrassing about four people undressing and bearing every square inch of their bodies and its movement to us, as one becomes enveloped by these movements–these pulsations–whether we want to or not, we find ourselves wondering if it is right to look at this, to so deeply and anonymously paw into the intimate areas of others.”

Testre Ébredés [Nude Awakening] by Attila Nyulassy, Published: www.7ora7.hu, 24 May 2013

„This pure and unmodified gestural art is liberated from every exteriorism, any superfluous object, and all unnecessary, hindering relation…”

„…the events and trials that appear isolated from one another, intuitive movements, and the well-rehearsed dance moves, forming an extraordinarily high-level, independent language, individual series of movements, they not only define the environment, but suddenly, recalling the momentary shocks of enlightenment and recognition, they manage to change, with charismatic performers, as media, and the process is radiated outside the dance space: no one is out of its reach!”

Notes on Dawn, by Zsolt Sőrés, 4th February 2013

Sunshine through eyelids

(Solo study)

Dawn – a finely tuned title. This is the realm of an awakening into reality. Gentle and merciless, as the sun shining through our eyelids. Every awakening is merciless. An end to things, and a beginning. The reddening of the morning sky. When we catch ourselves in real life. In living. And in the thought, stuck to the idea of existence, that there is no escape. We are naked, no matter how clothed we are.

However covered.

Hód marches out, peers into cavernous wells, poking and prodding us, probing herself, and the world around, turning things over. As a creative artist, she does not create an aesthetic of onstage nakedness; she does not bow to eroticism. In fact, she stops at the edge, in the heat of the moment. Turning back slightly, she uses subtle signs to build a translucent wall – translucent perhaps, but a wall nonetheless. Substance mulched in with substance. And this substance is what hurts – nothing else. And I wonder: when will the material redden? And, as to when we cross that frontier, when we begin our philosophical approach into this phenomenon – the recognition of the body as an abstract –

or whether something different happens: this all depends on the character of the creative artist, and of the audience. The question is how to continue and be continuous, to be inside and out, to occur in the visible and invisible. The thought now hardens into words, as this is an important, solid, almost compulsive, and extraordinarily consistent route.

Pirkad’s (onstage) summation appears to be the natural result of Hód’s opus. If, thus far, it is the strip-down process we have seen, we have now arrived at the source, excluding the accidents or intentions of the voyeur, and all unreadiness. This is no longer of interest: the patterns – perhaps forever(?) repeated – of the endless study, the hackneyed rhythms of the vegetative games of what human beings thought their own. It is no longer about nakedness, or the uncovered body. It is about what rises up from behind, or within it, or above it; relativity at different levels, which, in its unfolding, unveils the human being. In leaving their clothing behind, Hód’s forms are abandoning their aesthetics; these (onstage) bodies are not presenting themselves or an image of themselves. They are manifesting their mortal condition, their emprisonment into a state, with quite exacting detail, tying gestures together elementally, with an almost autistic sense of exclusivity, and so, with the integrity of a knowledge without hope, without anything.

In an ageless Dawn

after the reddening of dawn.

Márta Péter

„All credit to Emese Cuhorka, Júlia Garai, Csaba Molnár and Marcio Kerber Canabarro for bravely grappling with their ’humanimalism’ and exposing their anti- erotic (?) selves. Sprinkled with unexpected glimmers of tenderness, this dance where the whole is greater than the sum of the (body) parts.”


Donald Hutera