Shared Values

Shared Values

By and with: Alex Bailey, Daphna Horenczyk, Csaba Molnár, Priiya Prethora

Music: Zoltán Mizsei

Light design: Leo Kuraitė and Kata Dézsi 

Dramaturg: Ármin Szabó-Székely 

Choreographer: Adrienn Hód

 

Duration: 01:30

 

Language: English without translation

 

Co-produced by: WUK Peforming Arts

 

Supported by:

Stadt Wien

Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport

National Cultural Fund of Hungary

Trafó House of Contemporary Arts Budapest

Off Foundation

 

Photos: Marcella Ruiz Cruz

Dear spectators!

We have just arrived. We are new here, we don’t know the terrain and we are just getting to know each other. We are open, patient and curious. We have to be if we want to share the space. 

It is our personalities, life experiences, situations, realities and fantasies that inform the content we work with. These are our values. 

And that changes and seeks a different shape on a daily basis.

 

Shared Values is a body-research based creative process led by choreographer Adrienn Hód. Four performers, with diverse personal biographies and professional backgrounds, turn towards each other with an experimental spirit to explore the knowledge, experiences and practices that have become important to them throughout their personal and artistic journey, that have enriched them, shaped their views and that can be shared in the playful space of performance. 

The creative process of Shared Values is organized according to the concept of curiosity, connection and coexistence – together with all the contradictions and challenges around us. Through long sessions of guided improvisations with various physical and performative tasks, the performers provide raw materials which are structured in a form aiming to keep the freedom and openness of the whole process but at the same time is inviting for the spectators to connect to the experience.    

Shared Values is based on an open exchange, through the cooperation of emerging individual performing strategies, which considers the performative situation not as an imperative that necessarily requires a rigidly structured spectacle, but as a fluid platform of encounters.

 

Adrienn Hód is an internationally working Hungarian choreographer, specializing in contemporary dance and high-quality experimental movement. Her work is often research-based and focused on the human physique in motion, stripped of taboos and prejudices. During studio work she creates exhilarating and liberating situations that offer performers space, trust and agency to open up their physicality, sensations, emotions and layers of identity. Hód’s method is based on guided improvisation in the rehearsal room that appears in a structured form on stage. The finished pieces are often at the intersection of contemporary dance, theatre and performance. She founded HODWORKS, a dance and performance group of freelance artists, in 2007.

Alex Bailey (Performances for Pets) is a performer and artist based in Vienna. In 2014, together with Estonian Choreographer Krõõt Juurak, they created Performances for Pets. From these experiences they started giving Workshops by Pets and independently they’ve worked with autistic and differently abled children. They have performed with their young child & co-parent as a non-nuclear family in Codomestication, and their work has been performed widely at Brut Wien, Tanzquartier Wien, CNDB Bucharest, and Temporary Gallery, Köln.

Daphna Horenczyk is a performer, choreographer, and mother. She Grew up in Tel Aviv and currently lives in Vienna, Austria. In her artistic work, she deals with the gap between experience and representation and uses irony as a critical tool for social phenomena. Her latest works Diorama:stories and Passage premiered in Vienna with the support of the City of Vienna and the Austrian Federal Chancellery. In addition, she performed in the works of choreographers such as Anna Konjetzky, Ceren Oran, Amanda Piña, and Ariel Cohen.  Daphna is a graduate of the Sadna at Kibbutz Gaaton (IL) and SEAD (AT).

Csaba Molnár began his dance training at the Budapest Contemporary Dance Academy and then completed a two-year programme at P.A.R.T.S. in Brussels. In 2010, he joined the company HODWORKS led by the  choreographer Adrienn Hód. In his work, Csaba Molnár explores how radical extremes can be combined in different methods and means of expression. As a performer and choreographer, he is interested in transforming the most private phenomena of life into a universal and liberating theatre experience. Works by and with Csaba Molnár have been selected several times for the European dance network Aerowaves.

Priiya is a nomadic body, attuned to folk dance and martial art forms from the Indian subcontinent. They translate desires with sound, poetry, body fictions and visual imagery. Their recent daydreaming takes them to visiting last vestiges of ice on mountains, archive sonic intimacy, fictional mythologies and configure instinct as a method of making physical puzzles.

Zoltán Mizsei is a composer, singer, sound artist. He teaches literature of religious music, hymnology, mensural paleography, solfege and chamber music, and has been teaching improvisation for music therapists, music theory and literature at the Budapest Contemporary Dance Academy. He is a composer and plays keyboard instruments in several ensembles. He regularly participates as composer and musician in the performances of Hodworks since 2007.

Ármin Szabó-Székely graduated as a dramaturg from the University of Theatre and Film in Budapest in 2012. He completed internships at the Volksbühne Berlin and with Constanza Macras and her company Dorky Park. He has been working as a freelance dramaturg at the Schauspielhaus Graz, Landestheater Niederösterreich, Torino State Theatre, Kaunas State Theatre and in several independent theatre and dance productions. From 2023 he is an ensemble member at Katona Theatre, Budapest. He is working with HODWORKS since 2012.

 

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This performance is an experiment in preserving the format and atmosphere of the studio situation. What makes a material born of personal interests, improvisational impulses and the playful atmosphere of a rehearsal room peformative? How to preserve and present to the audience an organic creative flow and a spontaneous, fluid performance situation? How can the presence, attention and interest of the choreographer in the rehearsal room be maintained in the performance? How to show the interplay and interconnection of tasks, discussions, exchanges and actions? How to weave and sustain structure while shaping it to the participants’ agency as much as possible? What do we fix and how much is the free flow?

 

The starting point is a multitasking exercise: two tracks run side by side, one physical and one verbal. The textual exercise is a conversation in which the performers, calling each other by their own names, improvisationally construct a dialogue based on personal points of view, using predetermined topics as a springboard. In this flowing conversation, values and value systems acquired through experience emerge, revealing how each person lives and works. Knowledge, perceptions and doubts slowly unfold through the exchange of ideas. The personalities, private and creative journeys of the performers start to become apparent: Where do I come from? What has happened? Where am I? What have I learned? The emphasis is on sharing and listening, not on confrontation.   

 

The performative and movement materials were shaped from different directions: 1. Translating of tools found for letting go, passing through, accepting situations into movement, physicality. 2. Micro-performances responding to values that are personally important to the performers. 3. Reacting to each other’s actions. 4. Physically seeking beyond, a state in which everything is released and nothing really affects. 5. Scanning every detail of space with small sweeping movements. 6. Interpreting music with expressive dance, immersion, self-expression, emotionally charged forms. 7. Moving hidden body parts, unconventional points (eyelids, throat, tongue, armpits, abdomen, genitals, breasts, etc.)

 

We asked each other and ourselves the question: What do we know? Do we have the knowledge to maintain an open creative situation? A situation in which the different performers can act in their authenticity, in which their performative uniqueness is visible and in which they have the possibility to shape the format of the performance. It was a new method of construction. Compared to previous works, the ratio between the known and the unknown was subverted. In a freer and more open process, the position of the choreographer was also challenged. Adrienn Hód has been choreographing for two decades, she has not performed in her own creation for twenty years, but in this process she has been participating with an active performing presence and performs in the show. She wanted to make herself transparent, to display her status as a choreographer and as a private person. In addition to the continuous creative dialogue, she also joined the movement exercises. Moving together, searching for forms and contents together defined the process for everyone.

 

“You don’t have to put it together” came the advice of a good friend and colleague. Structuring as such is a statement of values. What does it mean to put it together? What are the methods for (not) putting it together? Allow something else. Farewell, bonding, letting go. Becoming free. Do you believe in life after love?

 

The closure is a simple game. A performer moves around the space, carrying something, which at one point is passed on to another performer, who carries it on and passes it on again. Abstract dance, based on the crossing of space. We transfer and receive invisible things from each other. The passing on can be a preservation of something, but also a relief, or an aid in carrying a thing. What do we desire? We don’t need as much.