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In this city everybody is in a rush; workmen, shopkeepers, politicians, newspaper sellers, the unemployed; each in their own parentheses, their own corner, their own shadow, with the sound turned down. If someone asks for the time, do you answer? If someone has fallen in the street, do you help them? If someone is asking for spare change, do you give it to them? It might be a trap, a pitfall. Always Coca-Cola.

We live in a tower of social conventions. A tower built with and around a Babel of individuals.

City is a dance piece about the relationships between the group and the individual in a contemporary cosmopolis. I´m Lovin' It.

The choreography of CITY is rooted in the observation of people in a metropolis. We selected a series of real-life situations and abstracted them into a movement composition. The behaviour of people walking in a busy highstreet, of insecure teenagers who want to fit in the group, of demostrating crowds and of speaking politicians are all captured, reduced to their essence and transformed into movement motifs. The result is a highly theatrical dance piece, in which five characters have to deal with each other and with a pervasive computerised voice, which has the power to address them, give them orders, judge them. A piece which interprets social dynamics through the abstract language of dance.

The creation of CITY has been a completely new experience for the members of Bloom! This chance to create a work as a true collaboration between five dance artists was exciting and at the same time scary. We felt supported and inspired by the group, but it has been hard sometimes to take major decisions. We had to renounce to many ideas and ultimately aimed at creating a coherent piece: we tried to keep truthful to each creator's concepts, rather than looking for compromises. We often switched leadership both for the organisation and the direction of rehearsals.

This collaboration has been extremely stimulating for all of us, and at the same time humbling.

About Bloom!

Bloom! is an eclectic collective of dance artists, inspired by the belief that collaboration is of the essence, in order to create powerful and vivid works. The collective was first gathered in Budapest and it includes Hungarian, Spanish and Italian artists. The group’s philosophy redefines the hierarchy between choreographer and performer, giving life to a creative process in which every artist is equally responsible and involved. CITY, developed thanks to developed thanks to Jardin d’Europe and Workshop Foundation, is their first collective work.

www.bloomdancecollective.org/city.html


Created and performed by: Viktória Dányi, Csaba Molnár, Tímea Sebestyén, Moreno Solinas, Igor Urzelai

Viktória Dányi

Viktória trained at the Budapest Contemporary Dance School and finished her studies with a Certificate degree at the London Contemporary Dance School. She then moved to Budapest, where she is currently working as a freelancer. She has recently participated to creations by choreographers: Klári Pataky, Eszter Gál, Zoltán Nagy, Adrienn Hód, Gyula Berger and Iván Angelus.

Csaba Molnár

Csaba started his studies at the Budapest Contemporary Dance School and during his training he worked with several choreographers (Adrienn Hód, Attila Kun, Eszter Gál amongst others). He continued his studies in P.A.R.T.S. (Brussels) and started working straight after with Compania Virgilio Sieni Danza in Florence.

Moreno Solinas

Moreno trained at the London Contemporary Dance School and he is currently pursuing a career both as a performer and as a choreographer. He has worked as an apprentice with Bonachela Dance Company (The Land of Yes and the Land of No) and as a professional with DV8 Physical Theatre (restaging of To Be Straight With You) and Stan Won't Dance (creation and touring of Babel). www.hirudance.org

Igor Urzelai

Igor started his studies in Madrid, combining the training at the Real Conservatorio de Danza with an acting degree, before graduating at the London Contemporary Dance School. As a dancer, Igor worked with Jovair Longo and the Butoh master Katsura Kan, and performed works by Anna Williams and Jan De Schyenkel. Recently Igor joined the company Peut-être Theatre. www.hirudance.org

Tímea Sebestyén

Tímea started her dance studies in the ballet department of the Hungarian Dance Academy and continued her education in the Budapest Contemporary Dance School until 2005. After graduating she participated to MU Terminal, a pre-professional program for young dancers in Budapest, dancing in projects by László Hudi, Gábor Goda, Vera Ondrasikova and Krisztián Gergye. Timi is currently a freelance dance artist in Budapest and has recently danced for Kata Juhász, Zoltán Nagy, Ádám Zambrzycki and Jean-Mark Torres.

Photo: Tamás Katkó
Graphics: Éva Magyarosi
Sound Design-Music: Alberto Ruiz Soler
Special thanks to Anikó Rácz

Supporters:

"With the support of the Culture Programme of the European Union"
Jardin d’Europe
Workshop Foundation
National Cultural Found
Florian Workshop – Moving House Foundation
Association of Independent Theatres
New Performing Arts Foundation
SÍN Culture Center 


Premiere:
May 10, 11, 2010 at MU Theatre Budapest (HU)


Further Touring:


• May 14, 2010, Teatro Civico, Sassari, Italy
• August 15, 2010, Sziget Festival Budapest, Hungary
• October 30, 2010, iDans Festival, Istanbul, Turkey
• November 30, 2010, Serrenti, Italy
• January 6, 2011, Aerowaves Festival-Künstlerhous Mousonturm,
London, UK
• January 22, 2011, dunaPart2 Platfrom, Budapest, Hungary
• March 11, 2011, Festival da Fábrica (mini Aerowaves festival), Frankfurt,
Germany
• March 26, 2011, Aerowaves Spring Forward Festival, Ljubjana, Slovenia
• May 7, 2011, Porto, Portugal
• August 5, 2011, The Place - as part of ‘Summer House’, London, UK
• September 25, 2011, The Place - as part of ‘Summer House’, Warsaw,
Poland
• October 5, 2011, Bratislava in Movement Festival, Bratislava, Slovakia
• October 11, 2011, Platform of Young Choreographers 2011, Zagreb,
Croatia
• December 8-9, 2011, Mu Szinház, Budapest, Hungary
• April-May 2012, USA Tour, Pittsburg, Philadelphia, Washington DC &
New York, USA

*******



report by Viktória Dányi

The Bloom! came into existence for the application of Jardin d’ Europe. I invited dancers from two schools where I was studying and where these people were my classmates; Budapest Contemporary Dance School and London Contemporary Dance School. This team have become Bloom!

The team members of Bloom! are Viktória Dányi (HU), Csaba Molnár (HU), Tímea Sebestyén (HU), Moreno Solinas (IT), Igor Urzelai (ES).

The philosophy of Bloom! was to create a collaboration, where every participant assumes the responsibility for the piece.

After we learnt that we got the application the first thing was to make it possible, and to start, to meet in Budapest for talk.

In the first stage three important things happened:

We talked about the ideas what we had on the piece
We chose which way we would like to bring the piece
We discussed everyone’s availability and on the basis of the discussion we set the schedule
 

In the application we planned to rehearse in every participant’s country, but finally we decided to bring the whole rehearsal process to Budapest, because in Budapest creators are supported with free studios, and we got four possible studios to rehearse in: Workshop Foundation’s Studio in Trafó House of Contemporary Arts, Florian Workshop – Moving House Foundation, Sín Cultural Center and New Performing Arts Foundation.

In the first stage the piece ran under the title of Babel, but later on, as the piece got shape we felt that it took a slightly different route and we decided to change the working title, and it became CITY.

The second stage was the actual creation, which was divided into three parts:

The first one was for one week in January 2010 in the Workshop Foundation’s studio in Trafó House of Contemporary Arts, where three of us; Viktória Dányi (HU), Csaba Molnár (HU), Tímea Sebestyén (HU) started to work. During the whole process we constantly recorded our work, and we uploaded the videos to our blog. The blog played an important role and it gave a lot to us, because we could really show our ideas what we were working on and ask for feedback from those who physically were not in Budapest. At the same time with the help of the blog they could also work and think on those tasks by themselves.

The second one was for two weeks in February at the SÍN Culture Center. Here Viktória Dányi (HU), Tímea Sebestyén (HU) and Igor Urzelai (ES) were working. In these two weeks we started to try out the machine voice, and we made experiments with the application of this voice to the piece, and we researched movement materials. We had to accept that many of the good ideas coming had to be dropped as they did not add or were not relevant to the piece.

The third one was for one month in March at the studio of New Performing Arts Foundation and SÍN Cultural Center. Here for a few days all the participants met in Budapest, some of us could work longer; Viktória Dányi (HU), Csaba Molnár (HU),  Moreno Solinas (IT),  Alberto Ruiz  Soler (ES), Tímea Sebestyén (HU). In this one month the music slowly got shape, the sound designer Alberto Ruiz Soler spent this month with us in Budapest, and he played      also a very important role to create the final structure of the piece. He brought new aspects of the way of thinking, and we could think about the piece more comprehensively.
 

The third stage was the last phase, where basically we framed the final structure of the piece. 

This happened in April and May – we rehearsed in the studio of Florian Workshop – Moving House Foundation and we had the theatre space for rehearsal for five days preceding the premiere.

In the piece we use a voice generated by a machine. We created the English version as the original one, and according to our plans the text would have been translated to all the languages of the collaborators. For the premier at the MU Theatre we decided not to use the Hungarian translation, because it would have compromised the final choreography, but for Italy we used the Italian translation as we planned, also because we believed that only few of the audience there would speak English.

The idea of having set design was with us from the beginning to end, but we decided to have it only in the beginning of the last stage. We thought the atmosphere what the set design would create would add to the piece.

In the future we would like to reveal itself in international platforms.

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