- I drew heavily from material and experience collected researching for the piece Mindennapi rutin [Daily Routine], during which we focused on the following themes:
- time, energy, static and dynamic
- sight, enjoyment
- urge, need
- Afterwards, we were interested in how movement might create a condition in the dancers and how this condition further effects their movements. Our aim was to make improvised movement repeatable, thus developing a particular vocabulary of dance that slowly unfolds and comes to life. Certain characteristic movements became fixed, they were given colors, moods, names. This new “body language” that was created could be utilized by anyone in their own individual, worked out, characteristic movement or accent.
- Alongside this, I looked for a situation in which the dancers could present in a way similar to that of social situations: passing time, getting together, a gala, a social circle. That’s how I got into the music of the 15th-century courtisans. Basse Danse is the first, simplest renaissance dance, slow, prancing, people hold hands, but do not look at each other. They bow outwards and show themselves. This mood is typical of our performance, too.
“When rehearsal began, Adrienn asked a lot of questions about the early state of European music: what was its purpose? How did it work, develop, transform through the ages? Basically we went through each period from the Middle Age to the Baroque. It turned out that, for example, the earliest musical remnants, Gregorian chant, has its roots in basically the same ancient tradition as any music does — however complicated or far-reaching its base — it is first and foremost improvisation. With knowledge of music, the musician improvises at the moment the music is heard. This insistence on the ever-present moment defined music and kept it alive, all over the world, for a very long time.”