“In these very precisely guided situations performers are given a huge freedom and the audience merges into the pure and unrestricted humor of the performance.”
“Glitters scattering all around cover their naked body and orifices, do not appear as glaze but as a support of the deconstructing process, of the conceptual trimming, while it re-construct metaphysical and angelic creations. Like Hód’s previous choreographies, Grace also is not against the existing structures of dance. The intention is only to show those structures more uncertain, take them apart, then rebuild. Grace, actually, is a state of mercy, a self-destructing meta-dance which is able to rebirth.”
Sisso Artner in Magyar Narancs, 11 Febr 2016.
The words people most often use to describe it may be right on point: associative, unbridled, humorous. But this is not enough to capture value of what holds it together and makes it relevant, something which is done so clearly on the stage — what makes it so strong and convincing that even the international dance world has taken notice.
“…I’ve never seen a piece that would take this particular grey zone — the difference between presence and meaning, the moments of touch and the inevitable inductive tension between them — and set it centerstage — what’s more, in a tremendously entertaining fashion.”
“Beyond what the Hodworks dancer-actors might say outright, play out, or infer — it all makes the grey zone of the “ghost image” visible, a zone in which two mutually foreign territories, in the words of Gumbrecht the “meaning-only” world and the “production of presence”, come together; in which — in the sharp light of moments flaring with electricity, in a shuddering chill, or in explosive laughter — the spirit of the great art of years long past is present.”
“What was, in foreplay, an artistic hysteria, a four-headed, pompous know-it-all, transforms, by the end, into a rhythmic frisée of gorgeous bodies. Sweating, belabored, beautiful, and free: from within them speaks pure presence for itself. This is good art: it casts a strong light onto something the very nature of which is elusion.”
“…Grace exhibits with great force the position of the performer. Still, the studio work, the meta-theatre rumination, is not navel-gazing (as it so often is in theatre). It is not merely an avant-garde provocation charged to consumer’s account; it networks the questions of self-exhibition step by step, using extreme, human conditions, and then it conjures those conditions verbally and physically.”
“Intellectual and uninhibited, and the two coalesce.”
“Hód created a piece about her dancers, whom she knows well, and perhaps loves even more.”
Szilvia Artner Sisso
András Rényi: Tudósítás a szürke zónából [A report on the grey zone] – a serial critique by András Rényi, Anikó Varga, and Szilvia Artner in Színház, April 2016.