Opening night on 15 February 2018, TRAFÓ – House of Contemporary Arts / Budapest, HU

Sunday is an unapologetic, bold yet tender and sensitive game. The piece starts from the basic theoretical issues of contemporary dance, but responds to everything in practice, in the form of extraordinary physicality. The components of dance and theater are shaped by the five performers into an elementary experience from which the viewer cannot escape. Sunday is not a dull day off, but an exceptional performance tour.

What does it mean to be a dancer today? Is dancing dangerous? What is immoral and what is not? Everything is permitted. Is everything permitted?

SUNDAY contains besides Adrienn Hód also some Bosch and Pasolini. (…) It’s a kind of experience that the spectator can’t stay indifferent to. (…) We are just as important for Hód as her dancers, if not more important. She is teasing us, working on us until our heavily crusted spectator shell opens up, and we are standing there waiting for the unknown, just like the performers of SUNDAY. The visceral bodily experience, which arises from the self-disclosure and the energy explosions of the dancers, sweeps away all false illusions and ideas.’ (Csaba Králl,

’We find ourself on an uncertain, unknown place where  we don’t know our way around (…) Hód clears away the glaze from everything. (…) She is doing exactly the same as her dancers for years with relentless systematism: reaching for areas which are inappropriate, touching parts which are sometimes uncomfortable. But we must see it. Because it’s intriguing. Becasue it doesn’t let us to lean back. Because it helps us to know ourselves better.’ (Ágnes Maul,

’The company HODWORKS after Grace and Solos continues thinking about the genre of dance, about its role, its future, the duality of performer and role, and last but not least about the process of reception. (…) SUNDAY is a theatrical self-reflection, which won’t leave anything nor anyone without a question.’ (Klaudia Antal,

Self-reflection. Dance and us. What is the role of dance?  How does it affect the outside world? And how does it affect dancers themselves? What does it mean to be a dancer today? How does a dancer view a choreographer, and vice versa? What kinds of creativity exist? How does the work shape one’s personality, and on the other hand, how do personalities shape the work? Opinions on dance. Moral judgements on dance. Is dance dangerous? The legitimacy and comprehension of different cultural norms and value systems. What is immoral and what is not? Today it seems as if we have moved beyond such categorization, or have we… (?) Everything is permitted. But is everything really permitted? What is the future of dance? Utopian ideas. What is the point of dance?

Ábris Gryllus about the music of the piece:
The idea behind the score of SUNDAY was to create a musical atmosphere which is sacral, but disturbing and bitter. Clublike, but also relentless and pitiless towards the dancers and the audience. Therefore, at some point the whole musical progress started to gravitate towards the aesthetics of gabber. Not techno, gabber. Aggressive, street, ruthless and uplifting, visceral and sublime. Just like a football anthem. Part of the process was to analyze and deconstruct the genre. Then use significant elements of it on their own, as repetitive, almost meditative, but still uneasy skeletal patterns. The score is performed live in synergy with the dancing.

Performers and co-creators: Emese Cuhorka/Jenna Jalonen, Csaba Molnár, Marin Lemić, Jessica Simet, Zoltán Vakulya.
Lights: Miklós Mervel
Music: Ábris Gryllus
Costume and props: Csenge Vass
Dramaturge: Ármin Szabó-Székely
Choreographer: Adrienn Hód

Special thanks: Lívia Fuchs, Péter Tóvay, László Kürti, PIM-OSZMI (The Hungarian Theatre Museum and Institute) – Dance Archive

Co-producer: Trafó House of Contemporary Arts
Supporters: EMMI, NKA, OFF Foundation, SÍN Cultural Centre, New Performance Art Foundation Partnership with Workshop Foundation

Photos: Dániel Dömölky