Opening night on 16 February 2017, MU Theater / Budapest, HU
A selection of solo appearances. One performer in one action and in one focus. Becoming aware, as performer, of this group of people that form an audience, and the fact that this group as well as the performer has responsibility upon the experience that is being purposed at the Theater, can bring more possibilities of creating relations between the two. Likewise, once we give a chance to know someone, by spending time with it, the opportunity for creating bonds is increased. Audience reactions add a color to the onstage action, thus a new unknown variable element is involved into it.
Time becomes a key element to the point where we are not just observers but also the landscape to the stories we can tell ourselves. The negotiation and politics of a meeting begins to operate in the realm of meaning, of what we allow the figure to mean to us and who we become through meeting it.
From the creators:
“I stand alone in the crossfire of your eyes. My only orientation mark thrones deep within this flesh decorated weedy my skeleton. Two glass-ball eyes cannot fight an army, even a single mouth cannot give an answer for the questions of a crowd, neither my one only whole could not satisfy the hunger of one pleasure chasing burglar.
Maybe a simple touch would make more sense? But then our risky addictive nature would start to suffocate and at the end would petrify that inexplicable secret. Accept and see the beauty in this unsatisfying yet transcendent beauty.” Csaba Molnár
“Adrienn Hód asked what I was doing.
I told her I was participating.
Then she said Alien thought she is understood.
I think I am understood.
I remain stranger till I cannot share my feelings.
I often watch them labouring, struggling on the ladder or just working on something. They know how to do it, they resolve a problem, they create, repair, explain. And they don’t know the tiny detail I am watching on their back or on their shoes, when the concentration stretches their muscles into feelings on their faces. To identifying with the action they do draws their eyebrows, their bodies are full of wish to achieve. The humour of the action and the trick from the back: this is the point when I feel the whole person as an action, all details are magical symbols. Then I notice from day to day I see more and more unknown strangers, people I should say hello.” Emese Cuhorka
“I love the way the sun leans on the balcony next door. The shapes are so solid, that I feel I can reach with my hands and bend the shadows. When I give time to see something or someone, things get this layer of a miracle. Is hard to understand how such a texture grows in this universe. Once the sun needed to born and consequently all that is around me in order to be seen this way. Maybe in here I’m abducting myself of my own existence. All is material. And I often get busy with the invisible ones. If I get infinitely quiet, they also bend. Beauty is a way of noticing…” Marcio Canabarro
„I wanted to communicate with the relation between audience and performers not with the relation among people on stage. This is not a hierarchical relation but a horizontal one. I experienced that I behave differently with different people and I react in another way. It may happen that in a way I don’t even want to. The recognition of this kind of adaptability, the speed and quality of action and reaction form the relation between people. I was interested in the quality of this communication, how it defines my feelings, my sensations and my thoughts. I was curious to explore the birth of the relation with performer/creator. Its form, its „games”, its tools and the content of it, all become part of the performance. What motivate other people and what form does this motivation gain? During the whole creative process I was dealing with the question, to whom do I address with this piece? To the universe? To a subcultural group? Or simply to people? What does “people” mean? Who are they? What do they bring with them? And after all, what is the future of the piece and this evokes the question of sustainability and existence. So cultural policies, the market, the artistic creation and their relation. How one affects the other? What is the aim of decision makers on artworks? What do we learn, where is our focus and what institutions and funding systems define these values? Of course, a dance piece cannot tell these kinds of stories but I feel important to write about this because these thoughts are present when the form of this pieces were decided. And of course I was still interested in the big classical topics: looking for freedom, how and where can we experience it, definition of body and sexuality, tradition and the shaping of the ego, the absurdity and the sadness of inequalities in life, especially hatred and destructive forces and in opposition to this, understanding, compromises and acceptance. Becoming partners and reaching a world where ego is defeated and human intelligence can compromise. And what is this? Should everyone enlighten at once? There was always this bipolarity. What can I do with this? Where is my calmness? Where is my faith? I fight but till when? Is there any space or I withdraw and I form my own personal culture, I search for partners and we build the world together as we like it. And where exactly? In Budapest? What should I open or close in myself to be able to do this? Anyway, I feel important to have a dialogue, to see the consequences of our existence.” Adrienn Hód
Performers and co-creators: Marcio Canabarro, Emese Cuhorka, Csaba Molnár
Music editor: Ábris Gryllus
Costumes: Anikó Németh and the creative team
Light: Miklós Mervel
Dramaturge: Ármin Szabó-Székely
Choreographer: Adrienn Hód
Supported by: Ministry of Human Resource (H), National Cultural Fund (H), OFF Foundation (H), SÍN Cultural Center (H), New Performing Arts Foundation (H)
Nudity on stage