HODWORKS : The way my father imagined it all
A bare space, hardly visible light changes, music fragments floating into the silence for mere seconds. Four bodies and we, the viewers, all illuminated. All watch and are being watched at the same time.
Aerowaves' Priority Company in 2012 and winner of the 2012 Rudolf Laban Award for artistic excellence, the Budapest-based dance ensemble is proud to announce its newest performance, initiated by Workshop Foundation's Jardin d'Europe programme.
Three makers joined to create the choreography together in the new piece. Marco Torrice from Italy, Csaba Molnár from Slovakia and company leader Adrienn Hód set out to interrogate on their own ways the frames of dance, body and space.
The result of their mutual work is a living environment which is born in the front of our very eyes - with an intensive inner experience but without the trace of any didactics. The display of psycho-sexuality, the disposition of the body in space and time, and the modelling of the worlds of silence and music, systematically transpose the gestural language and dramaturgy of traditional theater into the infinity of 'here and now'. What emerges is a unique and unrepeatable deconstruction of reality, which we inescapably absorb in its entirety. The multifaceted disassembly/unleashing of movement creates a new and abstract
meta-language which, sometimes playfully, sometimes alienated, nonetheless with highly impressive artistry, guides us to our innermost and pristine experience: To live reality in a rearranged and revived form. The latest production of HODWORKS manifests the poetry of life and the invisible alchemy of re-creation — perceptibly but in a cunning way, inaccessible to the intellect until the last moment.
Choreography: Adrienn Hód, Csaba Molnár, Marco Torrice
Dancers: Emese Cuhorka, Júlia Garai, Csaba Molnár, Márcio Canabarro
Music: Zoltán Mizsei
Costume: Artista Studio
Light design: Wil Frikken
Co-produced by: Workshop Foundation/Jardin d'Europe (H/EU)
Centre de Développement Chorégraphique/Biennale de danse du Val-de-Marne (FR)
Hebbel am Ufer (D)
Grand Theatre Groningen (NL)
Supported by: National Cultural Fund (H)
New Performing Arts Foundation (H)
Off Foundation (H)
SÍN Cultural Centre (H)
Media supporter: Revizor online
Available for touring: June 2012 - August 2013
Contact: Zoltán Imely, +36 30 305-8150, email@example.com
premiere: 23 April, 2012 - MU Theatre, Budapestfurther touring
April 24, 2012 @ MU Theatre, Budapest
September 21, 2012 @ Trafó House of Contemporary Art, Budapest
November 16 - 17, 2012 @ MU Theatre, Budapest
Feburary 15 - 16, 2013 @ MU Theatre, Budapest
April 19 - 20, 2013 @ MU Theatre, Budapest
Adrienn Hód (1975)
choreographer, teacher, is known for her radical approach to bodies, space, experimental music and the
interrelation of these - including the audience. During her education she acquired a wide array of movement styles and theatrical approaches that allow her to focus her attention on her dancers and the
deconstruction/reconstruction of their proper movements. Her creations seek to delve into what is 'really' going on in her dancers and to connect that very thing with the audience, often filled with playfulness and self-reflecting humour. She likes staging her works in spaces with little stage design. As she puts it: "Minimalism to the core. To me, bodies and voices will fill any space. Pure nothingness pulls me in. The void carries the inspiration to which my soul responds."
Csaba Molnàr (1986)
Dancer, studied at the Budapest Contemporary Dance School. Following his graduation in 2004 he got submitted to P.A.R.T.S of Anne Teresa De Keersmaeker. After finishing the two-year "Training Cycle" program in 2006 he joins the Italian company “Virgilio Sieni Danza”. Next to his work as an interpreter he develops, in the meantime, his own choreographies. In 2010, he becomes one of the founding members of BLOOM!, an international dance collective. Csaba learns from and works with Adrienn Hód for times immemorial, beginning at his application to the Budapest Contemporary Dance School.
Emese Cuhorka (1983)
dancer, is graduating at the Budapest Contemporary Dance Academy in 2011. She started working with Adrienn Hód in 2005 and, since then, she participated in 13 different productions of Hodworks. Her latest stage work is a remake of Trisha Brown's 'Set and Reset' by Vicky Shick and Éva Karczag. Next to her stage-work she is an eager teacher of improvisation for children and adolescents.
Júlia Garai (1977)
After studying ballet and folk dance for five years at the Hungarian Dance Academy, she turned to contemporary dance and graduated from Budapest Dance School in 1997. Returning to the Hungarian Dance Academy she obtained a diploma as a teacher of classical ballet. Founding member of Adrienn Hód's previous company OFF (1995-2007) and HODWORKS (2007-). She has also worked with: Unterwegs Theatre (Germany), Attila Kun, Wally Cardona, Táp Színház, Éva Karczag, Vicky Shick. Since 2007 she teaches ballet technique and creative dance to mentally disabled people.
Márcio Canabarro (1985)
Graduated at UNIJUI/RS/Brazil, majoring in Social Communication-Publicity and Advertisement. During his studies he developed a special interest in contemporary manifestations of the body as media, identity and image. In September 2008 he moved to Europe to follow SEAD's Undergraduate Artist Program in Salzburg. Throughout his training he had the chance to be taught, among others, by Katie Duck (US/NL), Jeremy Wade (US/D), Frey Faust (US/D) and Meg Stuart (US/D), and collaborated with Matej Kejzar (SLO/B), Martin Kilvady (SK/B), Maya Lipsker (ISR/D), Diego Gil (AR/NL) and Keith Henessey (CA/US). After finishing SEAD in 2011 Márcio moved to Berlin. In December of the same year he joined HodWorks to perform in it's present production.
Marco Torrice (1983)
While pursuing a degree in philosophy at La Sapienza University of Rome, Marco started to take dance classes and workshops in Italy and all around Europe with, among others, Dominique Dupuy, Hervè Diasnas, Vera Mantero and Khosro Adibi. In 2006 he moved to Brussels to study at P.A.R.T.S. During his studies he researched improvisation as a tool to increase body awareness and to enrich movement vocabulary and performance skills. He regularly works with the Brussels-based company "Mossoux-Bontè", takes part in different residency programs and is giving workshops around Europe. This is his second production with HODWORKS, this time as co-choreographer.
HODWORKS: The way my father imagined it all
A project report by Adrienn Hód
Upon the call for applications of the Workshop Foundation in April 2011 I asked Marco Torrice and Csaba Molnár to think of working together on a new piece. I have worked with both of them earlier, accordingly, we've had a common past and a previous work history. During out talks we came to the conclusion that all three of us were preoccupied with and interested in improvisation as a creative process and, through it, the levels of freedom of choice of the performer.
In the first phase of the rehearsal period we started working separately with the dancers. Freely, with no particular preconception, everyone brought in the studio his/her own ideas and working methods. During the first twelve rehearsals we only watched each other's work before the first discussion took place among us.
The second phase of the rehearsal period was spent by seeking points of connection in the material that each of us proposed, points of contamination, as it were, that were found to organically interlace the bits. Many ideas were shed, many were further developed, and so did the material become more and more concentrated and reached its final shape.
All together we had 81 rehearsals in four and a half months. Approximately half of this period went with the search for input, the other half was spent by creating the structure and dealing with dramaturgy and direction. What we found highly interesting and what caught us all by surprise was the discovery that we compiled a set of material which was impossible to rehearse in parts. Accordingly, we had 36 run-throughs from the birth of the structure to the premiere.
The rehearsals took place in Budapest in SÍN Culture Center, GOLI Dance Place, TRAFÓ Studio and MU Theatre. We had two residencies - one at the Centre de Développement Chorégraphique/Biennale de danse du Val-de-Marne (FR), the other at the Grand Theatre Groningen (NL), ten days each.
This was the first project in the life of Hodworks where everyone had a chance to do what he/she knews the best - and that with joy and in financial security. By enlarging our team with a production manager and a press person we could share related tasks and responsibilities and concentrate on the artistic process only. Also, this was the first project that involved foreign coproducers - from France, Germany and the Netherlands. It was a novelty for us to share our thoughts and visions with professionals we didn't know before personally but who were interested in our work, and to process their reflections during the residencies and around the premiere.
Next to the coproducers from France, Germany and the Netherlands, and the two co-choreographers (Marco from Italy and Csaba from Slovakia), a new dancer also joined our team. We held auditions in November at the DansCentrumJette in Brussels where we discovered (and almost immediately took home) an emerging dancer freshly out from SEAD, Márcio Cannabarro from Brasil.
A learning process
After the first application round we received the first feedback from the curators of the Jardin d'Europe project. They advised us about the strenght and the weaknesses of our project and suggested areas and considerations to complement the application with. For us, it was a very valuable reflection. It shed lights to points of views beyond our own ones that we didn't think of considering.
The second major briefing took place about a month before the premiere. Gergő and Lilla of the Workshop Foundation attended a rehearsal and we sat together a couple of days later to discuss what they saw. Well, this meeting was a difficult one. We are aware of it now that the work in progress back then had not yet reached a shape to be shown to outside eyes. At the same time, without their reflections, we would have probably never had that necessary kick to take a different look on the work from the point of view of a third eye.
The Jardin d'Europe project was a great step in our professional development in many respect. From the application process through to the evaluation meeting we have learned the ways and means of closely working together with an institution, the occasional pitfalls of inefficient or inaccurate communication and how to mend what was there to be mended, and, above all, one most important thing for us, artists: the inevitability of self-definition in regards to what we aim at communicating to the outside world with our work.
To sum it up all, the co-production gave us a chance to experience openness, learning, sharing and visibility and, above all, the creation of a wonderful performance.