Muck is one of the very few productions of the season 2009-2010 which reflected on present Hungarian reality in a visceral, no-nonsense manner (Mein Kampf by Tabori at the National directed by former Krétakör-actor Roland Rába is another one). In a time when a paramilitary fascist organisation like the Hungarian Guard can form in this country, and when after a lot of evasion and empty talk it is finally banned only to be reformed the next day; in a time when the language of the 1930‘s is once again socially acceptable both in papers and on street; in a time when racist murderers drive around killing Gypsies randomly including a 5 year old boy; in a time when a state president does not feel the need to speak up until after the seventh such attack in  row; in such times it is extremely hard to understand how most theatre-makers can go about doing their light farces and deep Russian dramas with absolutely no reference to the world around us. Béla Pintér’s theatre thrives on the present, on what is happening to us. Very lucky for us.

What Béla Pintér puts on stage is not only unmistakably stage-worthy drama, but recognisable Hungarian reality. With rapturous imagination his grotesques conjure up the current dream-world out of the everyday bitterness of the most wretched Hungarian. (...)The company wraps its sentimentality in irony and operates a human sincerity shot through with satire. Its every word, every movement precise, worked out, apposite and sincere (...)  Muck is one of the best Hungarian plays of all time and a thrilling performance. - Péter Molnár Gál

Music: Róbert Kerényi
Costume design: Mari Benedek
Assistant of Costume designer: Júlia Kiss 
Set designer: Gábor Tamás
Mask, puppet: Sosa Juristovszky
Light: Zoltán Vida
Assistants of the director: Rozália Hajdú
Financing: Gyula Inhaizer
Production manager: Anna Hidvegi
Writer and director: Béla Pintér

All pre-meeting groups will get back in time to see the award-winning production by one of the flagship companies of the Hungarian independent scene, the Béla Pintér Company about an elderly couple who adopt a Roma orphan thereby turning their village life on its head. Muck has been invited to the most prestigious international festivals and won numerous awards, including Best New Play.

Muck is one of the very few productions of the season 2009-2010 which reflected on present Hungarian reality in a visceral, no-nonsense manner (Mein Kampf by Tabori at the National directed by former Krétakör-actor Roland Rába is another one). In a time when a paramilitary fascist organisation like the Hungarian Guard can form in this country, and when after a lot of evasion and empty talk it is finally banned only to be reformed the next day; in a time when the language of the 1930‘s is once again socially acceptable both in papers and on street; in a time when racist murderers drive around killing Gypsies randomly including a 5 year old boy; in a time when a state president does not feel the need to speak up until after the seventh such attack in  row; in such times it is extremely hard to understand how most theatre-makers can go about doing their light farces and deep Russian dramas with absolutely no reference to the world around us. Béla Pintér’s theatre thrives on the present, on what is happening to us. Very lucky for us.

What Béla Pintér puts on stage is not only unmistakably stage-worthy drama, but recognisable Hungarian reality. With rapturous imagination his grotesques conjure up the current dream-world out of the everyday bitterness of the most wretched Hungarian. (...)The company wraps its sentimentality in irony and operates a human sincerity shot through with satire. Its every word, every movement precise, worked out, apposite and sincere (...)  Muck is one of the best Hungarian plays of all time and a thrilling performance. - Péter Molnár Gál

Music: Róbert Kerényi
Costume design: Mari Benedek
Assistant of Costume designer: Júlia Kiss 
Set designer: Gábor Tamás
Mask, puppet: Sosa Juristovszky
Light: Zoltán Vida
Assistants of the director: Rozália Hajdú
Financing: Gyula Inhaizer
Production manager: Anna Hidvegi
Writer and director: Béla Pintér

All pre-meeting groups will get back in time to see the award-winning production by one of the flagship companies of the Hungarian independent scene, the Béla Pintér Company about an elderly couple who adopt a Roma orphan thereby turning their village life on its head. Muck has been invited to the most prestigious international festivals and won numerous awards, including Best New Play.

A coproduction between Vígszínház and Sputnik Shipping Company 

The corrupt officials of a small Hungarian town, headed by the Mayor, react with terror to the news that an incognito inspector will soon be arriving in their town to investigate them. The flurry of activity to cover up their considerable misdeeds is interrupted by the report that a suspicious person has arrived two weeks previously from the capital… 

Sputnik Shipping Company

One of the flagship independent companies in Hungary Sputnik was founded in January 2008 and led by Viktor Bodó as an independent theatre, which due to a complex set of issues threatening the independent theatre scene in Hungary, was dissolved in March 2015.

For this company ’Sputnik’ symbolised motion into the unknown, with the risk of failure and explosion, but also the opportunity to discover something new and wonderful.

Sputnik strived to build and sustain a new theatre workshop environment based on experience gained in institutional, conventional theatrical routine. They seeked to establish a form of extra-institutional theatrical existence that facilitates reflective and high-standard workflow. They considered the nurturing of free creative processes, experimentation, and the research and revision of theatrical idioms just as important as the performance of classics and contemporary works alike.

They tried to strike a balance between retaining their mobility and thinking inside the box. They ’merely’ seeked to become freer and less constrained.

That after a seven-year success story they had to pull the plug, was a tragic blow to the Hungarian independent scene.

Viktor Bodó remains one of the most popular Hungarian directors, a resident director formerly of Schauspiel Graz, now the Vienna Volkstheater under Anna Badora, he works all over the German-speaking theatre and is the holder of numerous international awards.

Vígszínház

One of the most prestigious dramatic theatres in Hungary, Vígszínház, founded in 1896, and still is considered as one of the most important cultural institutions in Hungary. Its devoted ensemble works to create a balance between traditional values and modern creativity. Vígszínház is a people’s theatre and an art theatre at the same time, with a standard company of actors, which performs classical and contemporary, foreign and Hungarian dramas of a wide range of genre and types. The Vígszínház repertoire is exciting, and sensitive to social problems of the time and society and attracts a large audience. The theatre have had a long tradition to host famed foreign productions and internationally acclaimed artists, like Pina Bausch, Claus Peymann, Peter Brook, Maurice Béjart, the National Theatre of Cluj, the Cameri Theatre of Tel Aviv, John Malkovich in The Confessions of a Serial Killer and the Eifman Balett from St. Petersburg.

Vígszínház has toured all over the world, like on the BITEF, Belgrade, The Seoul Festival of World National Theatres and in Dublin, in Vienna, in Berlin, in Prague, in Pilsen, in Bratislava, in Novi Sad etc.

In 2014 they co-produced with the National Theatre, Prague and the Slovak National Theatre Bratislava the show 1914 directed by Robert Wilson. The performance received many invitaitons from all over the world and highly acknowledged both by the experts and the audience.

Lighting design: tamás bányai
Set design: juli balázs
Costume design: fruzsina nagy
Choreography: máté hegymegi
Music: klaus von heydenaber
Sound effects: gábor keresztes, alex hunyadi
Dramaturg: krisztina kovács, júlia róbert
Assistant to the director: beáta pintér
Directed by viktor bodó

A coproduction between Vígszínház and Sputnik Shipping Company 

The corrupt officials of a small Hungarian town, headed by the Mayor, react with terror to the news that an incognito inspector will soon be arriving in their town to investigate them. The flurry of activity to cover up their considerable misdeeds is interrupted by the report that a suspicious person has arrived two weeks previously from the capital… 

Sputnik Shipping Company

One of the flagship independent companies in Hungary Sputnik was founded in January 2008 and led by Viktor Bodó as an independent theatre, which due to a complex set of issues threatening the independent theatre scene in Hungary, was dissolved in March 2015.

For this company ’Sputnik’ symbolised motion into the unknown, with the risk of failure and explosion, but also the opportunity to discover something new and wonderful.

Sputnik strived to build and sustain a new theatre workshop environment based on experience gained in institutional, conventional theatrical routine. They seeked to establish a form of extra-institutional theatrical existence that facilitates reflective and high-standard workflow. They considered the nurturing of free creative processes, experimentation, and the research and revision of theatrical idioms just as important as the performance of classics and contemporary works alike.

They tried to strike a balance between retaining their mobility and thinking inside the box. They ’merely’ seeked to become freer and less constrained.

That after a seven-year success story they had to pull the plug, was a tragic blow to the Hungarian independent scene.

Viktor Bodó remains one of the most popular Hungarian directors, a resident director formerly of Schauspiel Graz, now the Vienna Volkstheater under Anna Badora, he works all over the German-speaking theatre and is the holder of numerous international awards.

Vígszínház

One of the most prestigious dramatic theatres in Hungary, Vígszínház, founded in 1896, and still is considered as one of the most important cultural institutions in Hungary. Its devoted ensemble works to create a balance between traditional values and modern creativity. Vígszínház is a people’s theatre and an art theatre at the same time, with a standard company of actors, which performs classical and contemporary, foreign and Hungarian dramas of a wide range of genre and types. The Vígszínház repertoire is exciting, and sensitive to social problems of the time and society and attracts a large audience. The theatre have had a long tradition to host famed foreign productions and internationally acclaimed artists, like Pina Bausch, Claus Peymann, Peter Brook, Maurice Béjart, the National Theatre of Cluj, the Cameri Theatre of Tel Aviv, John Malkovich in The Confessions of a Serial Killer and the Eifman Balett from St. Petersburg.

Vígszínház has toured all over the world, like on the BITEF, Belgrade, The Seoul Festival of World National Theatres and in Dublin, in Vienna, in Berlin, in Prague, in Pilsen, in Bratislava, in Novi Sad etc.

In 2014 they co-produced with the National Theatre, Prague and the Slovak National Theatre Bratislava the show 1914 directed by Robert Wilson. The performance received many invitaitons from all over the world and highly acknowledged both by the experts and the audience.

Lighting design: tamás bányai
Set design: juli balázs
Costume design: fruzsina nagy
Choreography: máté hegymegi
Music: klaus von heydenaber
Sound effects: gábor keresztes, alex hunyadi
Dramaturg: krisztina kovács, júlia róbert
Assistant to the director: beáta pintér
Directed by viktor bodó

Krétakör, founded by the director Árpád Schilling, started out twenty years ago as an independent theatre company. From 1995 to 2008 it grew to be one of the most cutting-edge Hungarian theatres and the one most well-known internationally. Productions of Baal, The Seagull or Blackland ⎯ among many others ⎯ travelled around the world to great critical and popular acclaim, while redefining at home what independent theatre meant. Award-winning shows, a boisterous young company, daring programming and a clear mission described the still young ensemble, when Schilling decided to dissolve it in favour of a new format focusing on direct social engagement, theatre-in-education, as well as participatory practices, while Schilling himself continues working at the most prestigious international venues from the Burgtheater to the Munich Opera or the Lithuanian  National Theatre, often experimenting in the same manner.

'We have had enough of the restrained analytical artistic approach that explores our present and past. The authorities have stomped on our faces with their heavy boots. It is time to scream! That is why we have the Loser. Ours is the Theater of True Hope. We know what will make the future brighter.' Árpád Schilling.

The story's main character is Lilla, the actress, who faithfully follows her husband Árpád, the director, who is battling the system. Their life becomes subordinated to the will of the rebellious artist, who consistently and without compromise stands up to the oppressive power. 

This is the last performance of the show that toured all over Europe! 

Cast: Levente Boros, Imre Lichtenberger Bozoki, Ernő Hock, Eszter Bánfalvi, Annamária Láng, Ádám Mészáros, Tamás Ördög, Lilla Sárosdi, Árpád Schilling, Sándor Terhes, Krisztián Vranik, Lawrence Williams
Written by: Árpád Schilling, Éva Zabezsinszkij and the company
Directed by: Árpád Schilling 
Music composed by: Imre Lichtenberger Bozoki, Krisztián Vranik, Lawrence Williams
Lighting: András Éltető 
Costumes and props by: Sosa Juristovszky
Directing assistant: Sára Fleischer
Production manager: Edina Schőn
Producer: Márton Gulyás

Morgan and Freeman - Ferenc Fehér

Ferenc Fehér is an experienced and successful dancer and choreographer, an autodidact who performed with the Finita la Commedia group for many years. His style is a unique and expressive combination of freestyle dance and martial arts. Ferenc is constantly improving and perfecting his repertoire of unique moves and he has been making and performing his own choreographies all over the world since 2007 (Spain, Switzerland, France, Romania, Austria, Slovakia, United Kingdom, Brazil, Venezuela, South Korea, Japan, USA, and Israel).
He is also a dance teacher, who held workshops in Holland, Italy, UK, Spain, Latvia, Poland, Czech Republic, Russia, Palestine, Iran, Egypt, Brazil, and USA.

A smart and mad dance piece with a puppet: a little vivified man. Name: Freeman. Height: 35 cm or smaller. Shoe size: 5 c. Viciousness: enormous. Is he friendly? Not really…
- Morgan, how would you describe this little man?
- When I first met him he seemed a nice little bloke, but then… He is very lively, or rather somewhat vicious. He is very eager to look for reasons to nag me and he really enjoys it. Surely, I’ll not take this for long. I might need to kill him. I’ll have no choice unless he changes. Him? To change? NEVER. He is up to something, I know.
And I have not mentioned his friend, the rabbit yet.

In 2014, MORGAN and FREEMAN won the main award of the 16 th Contemporary Dance Festival in Veszprém, Hungary.

Music: Ferenc Fehér (nadahnuto Renéom Aubryjem / inspired by René Aubry)
Lighting designer: Dávid Kovácsovics
Costume designer and consultant: Judit Simon
Created & performed by: Ferenc Fehér

Does it Start with a Kiss? - Éva Duda Company

The Éva Duda Dance Company made its debut in 2009 with Lunatika, a piece that won the Lábán Rudolf Prize and various festival awards. During the period since then the company developed their unique dynamism of movements characterized by the use of the expressive and powerful elements of physical dance, where individual moves are inspired by the creativity of the invididual dancers. The company emphasize that there approach to dance goes beyong the aesthetics, they are working on a special theatrical language. Over the past few years, the ensemble turned into one of Budapest’s key independent dance collectives with a recognasible, distinct image.

All for one, one for all – how does this principle unfold in reality and how does it change throughout an actual choreography? How dependent are individuals and who or what do they depend on? Who takes what from whom and why? Who speaks when on stage and what is being told? The authors’ world of movements resembles the passionate intimacy of tango, representing the characters’ relationships with a spot of humour. 

Performers: Beatrix Simkó, Milán Újvári, Andor Rusu
Lights: Ferenc Payer 
Choreography: Rosana Hribar and Gregor Luštek

Rosana Hribar and Gregor Luštek
Rosana Hribar and Gregor Luštek are well-known contemporary dancers and choreographers, who collaborate with the most renowned artists of Slovenia on a regular basis. They have worked together for years and have won national and international awards for their original and creative shows. 

Supporters: National Cultural Fund, Ministry of Human Resources, The Embassy of Slovenia, MU Theatre, Independently Together ( FÜGE), Jurányi Production Community Incubator House, Táncélet.hu, Municipality of Újbuda (11th District of Budapest)

Krétakör, founded by the director Árpád Schilling, started out twenty years ago as an independent theatre company. From 1995 to 2008 it grew to be one of the most cutting-edge Hungarian theatres and the one most well-known internationally. Productions of Baal, The Seagull or Blackland ⎯ among many others ⎯ travelled around the world to great critical and popular acclaim, while redefining at home what independent theatre meant. Award-winning shows, a boisterous young company, daring programming and a clear mission described the still young ensemble, when Schilling decided to dissolve it in favour of a new format focusing on direct social engagement, theatre-in-education, as well as participatory practices, while Schilling himself continues working at the most prestigious international venues from the Burgtheater to the Munich Opera or the Lithuanian  National Theatre, often experimenting in the same manner.

'We have had enough of the restrained analytical artistic approach that explores our present and past. The authorities have stomped on our faces with their heavy boots. It is time to scream! That is why we have the Loser. Ours is the Theater of True Hope. We know what will make the future brighter.' Árpád Schilling.

The story's main character is Lilla, the actress, who faithfully follows her husband Árpád, the director, who is battling the system. Their life becomes subordinated to the will of the rebellious artist, who consistently and without compromise stands up to the oppressive power. 

This is the last performance of the show that toured all over Europe! 

Cast: Levente Boros, Imre Lichtenberger Bozoki, Ernő Hock, Eszter Bánfalvi, Annamária Láng, Ádám Mészáros, Tamás Ördög, Lilla Sárosdi, Árpád Schilling, Sándor Terhes, Krisztián Vranik, Lawrence Williams
Written by: Árpád Schilling, Éva Zabezsinszkij and the company
Directed by: Árpád Schilling 
Music composed by: Imre Lichtenberger Bozoki, Krisztián Vranik, Lawrence Williams
Lighting: András Éltető 
Costumes and props by: Sosa Juristovszky
Directing assistant: Sára Fleischer
Production manager: Edina Schőn
Producer: Márton Gulyás

Morgan and Freeman - Ferenc Fehér

Ferenc Fehér is an experienced and successful dancer and choreographer, an autodidact who performed with the Finita la Commedia group for many years. His style is a unique and expressive combination of freestyle dance and martial arts. Ferenc is constantly improving and perfecting his repertoire of unique moves and he has been making and performing his own choreographies all over the world since 2007 (Spain, Switzerland, France, Romania, Austria, Slovakia, United Kingdom, Brazil, Venezuela, South Korea, Japan, USA, and Israel).
He is also a dance teacher, who held workshops in Holland, Italy, UK, Spain, Latvia, Poland, Czech Republic, Russia, Palestine, Iran, Egypt, Brazil, and USA.

A smart and mad dance piece with a puppet: a little vivified man. Name: Freeman. Height: 35 cm or smaller. Shoe size: 5 c. Viciousness: enormous. Is he friendly? Not really…
- Morgan, how would you describe this little man?
- When I first met him he seemed a nice little bloke, but then… He is very lively, or rather somewhat vicious. He is very eager to look for reasons to nag me and he really enjoys it. Surely, I’ll not take this for long. I might need to kill him. I’ll have no choice unless he changes. Him? To change? NEVER. He is up to something, I know.
And I have not mentioned his friend, the rabbit yet.

In 2014, MORGAN and FREEMAN won the main award of the 16 th Contemporary Dance Festival in Veszprém, Hungary.

Music: Ferenc Fehér (nadahnuto Renéom Aubryjem / inspired by René Aubry)
Lighting designer: Dávid Kovácsovics
Costume designer and consultant: Judit Simon
Created & performed by: Ferenc Fehér

Does it Start with a Kiss? - Éva Duda Company

The Éva Duda Dance Company made its debut in 2009 with Lunatika, a piece that won the Lábán Rudolf Prize and various festival awards. During the period since then the company developed their unique dynamism of movements characterized by the use of the expressive and powerful elements of physical dance, where individual moves are inspired by the creativity of the invididual dancers. The company emphasize that there approach to dance goes beyong the aesthetics, they are working on a special theatrical language. Over the past few years, the ensemble turned into one of Budapest’s key independent dance collectives with a recognasible, distinct image.

All for one, one for all – how does this principle unfold in reality and how does it change throughout an actual choreography? How dependent are individuals and who or what do they depend on? Who takes what from whom and why? Who speaks when on stage and what is being told? The authors’ world of movements resembles the passionate intimacy of tango, representing the characters’ relationships with a spot of humour. 

Performers: Beatrix Simkó, Milán Újvári, Andor Rusu
Lights: Ferenc Payer 
Choreography: Rosana Hribar and Gregor Luštek

Rosana Hribar and Gregor Luštek
Rosana Hribar and Gregor Luštek are well-known contemporary dancers and choreographers, who collaborate with the most renowned artists of Slovenia on a regular basis. They have worked together for years and have won national and international awards for their original and creative shows. 

Supporters: National Cultural Fund, Ministry of Human Resources, The Embassy of Slovenia, MU Theatre, Independently Together ( FÜGE), Jurányi Production Community Incubator House, Táncélet.hu, Municipality of Újbuda (11th District of Budapest)

The Lifeboat Unit was launched in 2014 within the framework of the flagship independent company, Sputnik, led by Viktor Bodó, one of the most successful Hungarian directors in Europe (cf. The Government Inspector). Lifeboat focuses on creating theatre-in-education shows focusing on some of the most burning social issues among young people in Hungary. Through their work they have found that prejudicial thinking seems to prevail among teenagers, as well as discrimination, socially exclusive language and hidden or outspoken racism. From then on it was clear that this should be one of the main focal points of Lifeboat’s work.

Due to a complexity of isssues threatening the independent scene in today’s Hungary Sputnik was dissolved in March 2015, but true to its name The Lifeboat Unit remained operational. Andrea Pass and Gábor Fábián (who’ll take guests to the refugee camp on one of the pre-meeting trips) lead the work as writer-directors.

A story from Hungary, Newworld is set at the end of the last century, in an age when extreme right youths were mostly called skinheads. The performers playing these characters won’t be calling Jews and Gypsies names, they are careful about what they are saying, which makes the adult characters think twice before interfering. Not a good policy, it seems. Being quiet, keeping silent does not seem to be a good policy, though it is often the case in today’s Hungary. This show tries to discuss the issues outspokenly and talks about what is going on in this country these days.

The heroine of the story, Kata is 16, who after her parents’ divorce has to move to the projects with her mother. Coming from a wealthy neighbourhood she is first scared by the youths hanging around her house, but it turns out they are very helpful to her and her mother, which is why she starts opening up to the extreme right thinking they represent despite coming from an enlightened, liberal family. The three youngsters pledge a friendship and let their hurt feelings turn their grievances into hatred and anger against randomly picked subjects. The fight is growing out of proportion, it seems the parents won’t be able to stop Kata any more. Particularly since it turns out that they have been keeping a secret for far too long. The story is set in 1999, when these youths were born.

Performers: Károly Hajduk, Lehel Kovács, Ádám Porogi, Zsófia Szamosi, Dóra Sztarenki
Drama teacher: Gábpr Takács
Assistants to the director: Dalma Sápi, Dóra Tési
Written and directed by: Andrea Pass

"Newworld is a real problem-digesting kind of theatre. It raises the most complex issues in today’s Hungary about prejudices, about the psychology of labeling, about aggression born from grievances, marriage and divorce, the generation gap without ever giving ready answers. It touches the viewer and it provokes him/her intellectually at the same time. (…) It is both an aesthetic experience and a well-founded effort the move the spectator out of his/her passivity."

Pálos Máté, Origó

"To look at 1999 from 2015 is shocking. It tells the story of how an assembly in a cellar of a block of flats turns into a million voters. "

Andrea Tompa, Magyar Narancs

Sponsored by: Dr. Polgár András, Varga Júlia, Valley of the Arts Festival, Summa Artium, Mecénás Nap

The Lifeboat Unit was launched in 2014 within the framework of the flagship independent company, Sputnik, led by Viktor Bodó, one of the most successful Hungarian directors in Europe (cf. The Government Inspector). Lifeboat focuses on creating theatre-in-education shows focusing on some of the most burning social issues among young people in Hungary. Through their work they have found that prejudicial thinking seems to prevail among teenagers, as well as discrimination, socially exclusive language and hidden or outspoken racism. From then on it was clear that this should be one of the main focal points of Lifeboat’s work.

Due to a complexity of isssues threatening the independent scene in today’s Hungary Sputnik was dissolved in March 2015, but true to its name The Lifeboat Unit remained operational. Andrea Pass and Gábor Fábián (who’ll take guests to the refugee camp on one of the pre-meeting trips) lead the work as writer-directors.

A story from Hungary, Newworld is set at the end of the last century, in an age when extreme right youths were mostly called skinheads. The performers playing these characters won’t be calling Jews and Gypsies names, they are careful about what they are saying, which makes the adult characters think twice before interfering. Not a good policy, it seems. Being quiet, keeping silent does not seem to be a good policy, though it is often the case in today’s Hungary. This show tries to discuss the issues outspokenly and talks about what is going on in this country these days.

The heroine of the story, Kata is 16, who after her parents’ divorce has to move to the projects with her mother. Coming from a wealthy neighbourhood she is first scared by the youths hanging around her house, but it turns out they are very helpful to her and her mother, which is why she starts opening up to the extreme right thinking they represent despite coming from an enlightened, liberal family. The three youngsters pledge a friendship and let their hurt feelings turn their grievances into hatred and anger against randomly picked subjects. The fight is growing out of proportion, it seems the parents won’t be able to stop Kata any more. Particularly since it turns out that they have been keeping a secret for far too long. The story is set in 1999, when these youths were born.

Performers: Károly Hajduk, Lehel Kovács, Ádám Porogi, Zsófia Szamosi, Dóra Sztarenki
Drama teacher: Gábpr Takács
Assistants to the director: Dalma Sápi, Dóra Tési
Written and directed by: Andrea Pass

"Newworld is a real problem-digesting kind of theatre. It raises the most complex issues in today’s Hungary about prejudices, about the psychology of labeling, about aggression born from grievances, marriage and divorce, the generation gap without ever giving ready answers. It touches the viewer and it provokes him/her intellectually at the same time. (…) It is both an aesthetic experience and a well-founded effort the move the spectator out of his/her passivity."

Pálos Máté, Origó

"To look at 1999 from 2015 is shocking. It tells the story of how an assembly in a cellar of a block of flats turns into a million voters. "

Andrea Tompa, Magyar Narancs

Sponsored by: Dr. Polgár András, Varga Júlia, Valley of the Arts Festival, Summa Artium, Mecénás Nap

This award-winning production has been instrumental in discussing drug-related issues with young people in the past five years. 
A young man tells us about his thoughts and feelings, about his controversial relationship with his family and what terrible effort and how much suffering it took him to give up drugs. His father is listening to him, he is going through the story with him. The dialogues, based on real life experiences and tales from the dark side, are shockingly honest, the minner monologues interspersing the humorous and bitter twists and turns of the story are sometimes embarrassingly blunt. How do the best intentions go so easily awry?  Why do we choose the easier road when we are at a crossroads?

Such straightforward discussion of the issues of young people with drugs are extremely rare in the theatre. This show has managed to lure hundreds, if not thousands of secondary school students into crucial and honest discussions about their issues, much more so than most similar undertakings int he this subject matter. 
The text is based on personal accounts of real drug addicts, as well as writings of the creative team including the protagonist...

"Bull’s eye. The Coward as a TIE show and as a regular show." 

                                                                     Ádám Hodászi. Ellenfény

"The immediacy of the show is stunning, its truths deeply troubling." 

                                                                           Lilla Proics

Performers: Krisztián Kovács, Péter Scherer
Creative team: Krisztián Kovács, Péter Scherer, Eszter Gyulay, Judit Surányi
Directed by: Péter Scherer

This award-winning production has been instrumental in discussing drug-related issues with young people in the past five years. 
A young man tells us about his thoughts and feelings, about his controversial relationship with his family and what terrible effort and how much suffering it took him to give up drugs. His father is listening to him, he is going through the story with him. The dialogues, based on real life experiences and tales from the dark side, are shockingly honest, the minner monologues interspersing the humorous and bitter twists and turns of the story are sometimes embarrassingly blunt. How do the best intentions go so easily awry?  Why do we choose the easier road when we are at a crossroads?

Such straightforward discussion of the issues of young people with drugs are extremely rare in the theatre. This show has managed to lure hundreds, if not thousands of secondary school students into crucial and honest discussions about their issues, much more so than most similar undertakings int he this subject matter. 
The text is based on personal accounts of real drug addicts, as well as writings of the creative team including the protagonist...

"Bull’s eye. The Coward as a TIE show and as a regular show." 

                                                                     Ádám Hodászi. Ellenfény

"The immediacy of the show is stunning, its truths deeply troubling." 

                                                                           Lilla Proics

Performers: Krisztián Kovács, Péter Scherer
Creative team: Krisztián Kovács, Péter Scherer, Eszter Gyulay, Judit Surányi
Directed by: Péter Scherer

Commonplace offers a sweeping stage mix about encounters, escape tricks and prejudices. About how we are not at all as special as we would like to believe, and that this is all right.

We stand in the doorway and look at the by-passers carrying their stories locked inside. Each day is an expedition. We step outside and join the endless transport of human stories.

Some of the rehearsal took place in a rehearsal room; other parts were rehearsed in public areas. The creators kept Moszkva square in Budapest and its passers-by under close observation. The performance consists of an extended and stratified reading of one minute of contemplating a public area, with ourselves as the point of reference. The personal stories of the five actors are intertwined with the stories of public-space pedestrians the same way a DJ mixes his different sound samples. When invited to other cities, the stories and characters of the local public places can be intergrated into the piece.
We are in search of ourselves in the crowd. We aren’t only witnesses of the change but part of it. Let’s dance.

The performance searches for a common ground beyond commonplace, where we can get closer to understanding another human being through the stories we tell about ourselves. This search is cast into the form of dance and text with lots of music and contribution by a DJ, all in a style that humorous and self-ironic, as well as hyperrealistic without discounting abstraction. The members of the audience may easily recognize themselves in the gestures, movements, and stories on offer, as they would in a pop song.

Commonplace is an artistic collaboration between The Symptoms and director Petra Ardai / Space Theatre (NL). The collaboration started with the short performance I don’t remember being raised like this in 2012, a piece of human statistics and subjective inventory. We spare no effort in relentlessly continuing to chart relationships between the individual and the community. What are moral values anyway? How does one avoid indifference?

The Symptoms is a performance collective organized around the Hungarian dancer and choreographer Réka Szabó. Originally a mathematician, Szabó has been building her company with dancers and actors since 2002. The members of The Symptoms are not simply performing artists but fully involved contributors, whose personalities, creativity, and team spirit fundamentally define every work of the company. 

The Symptoms pieces are carefully thought through, intellectual, and humorous creations mixing dance with text-based acting and movement. They typically use commonplaces as a jumping board, transforming them into grotesque, ironic, and often touching collages. The troupe works in a variety of formats, producing pieces for the stage as well as performances and free improvisations for public spaces and galleries. 

The company recognizes no generic boundaries, handling text, movement, music, and visual effects as ingredients of equal rank. Fond of special technical solutions, they treat of everyday problems that preoccupy all of us, addressing these themes in a deeply personal language. In recent years in Hungary, social apathy has presented an increasingly pressing problem, forcing The Symptoms to change the audience’s attitudes of passive reception. They employ special tricks to dislodge spectators from their cozy roles and move them to thought, even action. All of this is wrapped in a vision that is grotesque, self-ironic and poetic at the same time.

The repertoire includes genres as diverse as a dance performance informed by interactive video technology, a piece of political dance theater, and “life-disco”, as well as street performance and an interactive fairytale of a play for kids. 
Over the years, The Symptoms have been invited to various festivals and venues in Europe, including The Place in London, the National Theater of Prague, the Schauspiel in Köln, the Tanzlabor in Bielefeld, the Savoy-teatteri Helsinki and the INFANT festival in Novi Sad. In 2014, their show Apropos 2.0 was invited to premiere at the Alexander Kasser Theater of Montclaire University, New Jersey. 

Performed by: Emese Cuhorka, István Gőz, Valencia James / Rafaela de Sousa, Réka Szabó, Dániel Szász, Vince Varga
Special thanks: Dóra Furulyás, Péter Kárpáti, Music, sound, noise: Vince Varga, Costumes: Luca Szabados, Lights: Attila Szirtes, Choreography assistant: Adrienn Hód 
Directed by Petra Ardai
Supported by: Ministry of Human Resources, National Cultural Fund, Trafó House of Contemporary Arts, Open Society Foundations, FÜGE, MasterCard

Commonplace offers a sweeping stage mix about encounters, escape tricks and prejudices. About how we are not at all as special as we would like to believe, and that this is all right.

We stand in the doorway and look at the by-passers carrying their stories locked inside. Each day is an expedition. We step outside and join the endless transport of human stories.

Some of the rehearsal took place in a rehearsal room; other parts were rehearsed in public areas. The creators kept Moszkva square in Budapest and its passers-by under close observation. The performance consists of an extended and stratified reading of one minute of contemplating a public area, with ourselves as the point of reference. The personal stories of the five actors are intertwined with the stories of public-space pedestrians the same way a DJ mixes his different sound samples. When invited to other cities, the stories and characters of the local public places can be intergrated into the piece.
We are in search of ourselves in the crowd. We aren’t only witnesses of the change but part of it. Let’s dance.

The performance searches for a common ground beyond commonplace, where we can get closer to understanding another human being through the stories we tell about ourselves. This search is cast into the form of dance and text with lots of music and contribution by a DJ, all in a style that humorous and self-ironic, as well as hyperrealistic without discounting abstraction. The members of the audience may easily recognize themselves in the gestures, movements, and stories on offer, as they would in a pop song.

Commonplace is an artistic collaboration between The Symptoms and director Petra Ardai / Space Theatre (NL). The collaboration started with the short performance I don’t remember being raised like this in 2012, a piece of human statistics and subjective inventory. We spare no effort in relentlessly continuing to chart relationships between the individual and the community. What are moral values anyway? How does one avoid indifference?

The Symptoms is a performance collective organized around the Hungarian dancer and choreographer Réka Szabó. Originally a mathematician, Szabó has been building her company with dancers and actors since 2002. The members of The Symptoms are not simply performing artists but fully involved contributors, whose personalities, creativity, and team spirit fundamentally define every work of the company. 

The Symptoms pieces are carefully thought through, intellectual, and humorous creations mixing dance with text-based acting and movement. They typically use commonplaces as a jumping board, transforming them into grotesque, ironic, and often touching collages. The troupe works in a variety of formats, producing pieces for the stage as well as performances and free improvisations for public spaces and galleries. 

The company recognizes no generic boundaries, handling text, movement, music, and visual effects as ingredients of equal rank. Fond of special technical solutions, they treat of everyday problems that preoccupy all of us, addressing these themes in a deeply personal language. In recent years in Hungary, social apathy has presented an increasingly pressing problem, forcing The Symptoms to change the audience’s attitudes of passive reception. They employ special tricks to dislodge spectators from their cozy roles and move them to thought, even action. All of this is wrapped in a vision that is grotesque, self-ironic and poetic at the same time.

The repertoire includes genres as diverse as a dance performance informed by interactive video technology, a piece of political dance theater, and “life-disco”, as well as street performance and an interactive fairytale of a play for kids. 
Over the years, The Symptoms have been invited to various festivals and venues in Europe, including The Place in London, the National Theater of Prague, the Schauspiel in Köln, the Tanzlabor in Bielefeld, the Savoy-teatteri Helsinki and the INFANT festival in Novi Sad. In 2014, their show Apropos 2.0 was invited to premiere at the Alexander Kasser Theater of Montclaire University, New Jersey. 

Performed by: Emese Cuhorka, István Gőz, Valencia James / Rafaela de Sousa, Réka Szabó, Dániel Szász, Vince Varga
Special thanks: Dóra Furulyás, Péter Kárpáti, Music, sound, noise: Vince Varga, Costumes: Luca Szabados, Lights: Attila Szirtes, Choreography assistant: Adrienn Hód 
Directed by Petra Ardai
Supported by: Ministry of Human Resources, National Cultural Fund, Trafó House of Contemporary Arts, Open Society Foundations, FÜGE, MasterCard

HOPPart is an independent theatre company with a special focus in researching how to broaden the performing styles and methods of musical theatre. Members graduated from the same class in 2007 and in the same year they founded the company, which produces two or three new shows annually.

Josef’s restaurant is open to all, regardless of the political party the patrons might favour. It is not his fault that both the Republicans and the Extremists plan their night parties here, one after the other. The Republicans get wind of the danger looming over their heads, but instead of joining their efforts to fight it, they start fighting with each other, so by the time disaster knocks on the door, no one feels sorry for them. There is music throughout, love stories evolve in the havoc, marriages are ruined, in other words: life goes on.

"I wrote the play against the political mob” – says the author about the play, which is based on a mob fight that broke out between the Social Democrats and the Nazi Party in 1931 in Murnau, Bavaria.

A couple of plastic garden chairs, a TV-set, a ping-pong table with a few ugly flower pots and we empathize with the provincial restaurant’s melancholy, which we can find in any European country in this form. This is where the village gather to party. This is the plan for the „Italian night” for the Republican Party on this lukewarm summer evening.
But before that they watch a football game. The rowdy Nazis are there in the background and want to celebrate their German Day at the same venue. The owner thinks of hte profit and does away with his principles. (...)
The young Hungarian director, Csaba Polgár (whose Coriolanus and Merlin were to be seen in Germany earlier) sets Horváth’s satirical comedy in today’s Hungary.  Their democracy is fairly young, too, politics and society tend toward the right and there is no effective opposition. Polgár presents the republicans as a lazy bunch, who prefer to watch the football game to doing anything else.”

Esther Slevogt: A lazy bunch for democracy

Even though there are but a few additions referring to the present situation in Hungary, the play easily finds its way into our world. The German Day becomes the Day of National Togetherness, and one has a coorrupt kiosk deal like so many in this country who are favoured by the regime. The jokes sit well with the play, as well as with Alfons’s profile.”

Rádai Andrea, RevizorOnline, March 2014.

Performers:
Hay Anna, Kiss Diána Magdolna, Szilágyi Katalin,
Terhes Sándor, Friedenthal Zoltán, Molnár Gusztáv,
Fekete Ádám, Kákonyi Árpád, Tóth Péter
Costume and set: Lili Izsák
Dramaturgy: Ildikó Gáspár, Ádám Fekete
Music: Árpád Kákonyi 
Assistant to the director: Péter Tóth
directed by Csaba Polgár 

HOPPart is an independent theatre company with a special focus in researching how to broaden the performing styles and methods of musical theatre. Members graduated from the same class in 2007 and in the same year they founded the company, which produces two or three new shows annually.

Josef’s restaurant is open to all, regardless of the political party the patrons might favour. It is not his fault that both the Republicans and the Extremists plan their night parties here, one after the other. The Republicans get wind of the danger looming over their heads, but instead of joining their efforts to fight it, they start fighting with each other, so by the time disaster knocks on the door, no one feels sorry for them. There is music throughout, love stories evolve in the havoc, marriages are ruined, in other words: life goes on.

"I wrote the play against the political mob” – says the author about the play, which is based on a mob fight that broke out between the Social Democrats and the Nazi Party in 1931 in Murnau, Bavaria.

A couple of plastic garden chairs, a TV-set, a ping-pong table with a few ugly flower pots and we empathize with the provincial restaurant’s melancholy, which we can find in any European country in this form. This is where the village gather to party. This is the plan for the „Italian night” for the Republican Party on this lukewarm summer evening.
But before that they watch a football game. The rowdy Nazis are there in the background and want to celebrate their German Day at the same venue. The owner thinks of hte profit and does away with his principles. (...)
The young Hungarian director, Csaba Polgár (whose Coriolanus and Merlin were to be seen in Germany earlier) sets Horváth’s satirical comedy in today’s Hungary.  Their democracy is fairly young, too, politics and society tend toward the right and there is no effective opposition. Polgár presents the republicans as a lazy bunch, who prefer to watch the football game to doing anything else.”

Esther Slevogt: A lazy bunch for democracy

Even though there are but a few additions referring to the present situation in Hungary, the play easily finds its way into our world. The German Day becomes the Day of National Togetherness, and one has a coorrupt kiosk deal like so many in this country who are favoured by the regime. The jokes sit well with the play, as well as with Alfons’s profile.”

Rádai Andrea, RevizorOnline, March 2014.

Performers:
Hay Anna, Kiss Diána Magdolna, Szilágyi Katalin,
Terhes Sándor, Friedenthal Zoltán, Molnár Gusztáv,
Fekete Ádám, Kákonyi Árpád, Tóth Péter
Costume and set: Lili Izsák
Dramaturgy: Ildikó Gáspár, Ádám Fekete
Music: Árpád Kákonyi 
Assistant to the director: Péter Tóth
directed by Csaba Polgár 

The Katona József Theatre has been considered the most prestigious among all city and state theatres in Hungary since its foundation in 1982. To this day it remains most successful ensemble in the non-independent scene the internationally, with shows travelling around Europe, to the US and Australia, performing to great critical and popular acclaim. The new artistic director, Gábor Máté, brought about a renewal not only in the way the venue was partially re-designed with more open spaces, a bookshop, a strong TIE programme, but also with the kind of shows he often likes to stage, those with a very direct social relevance both in content and form.

This time the topic is emigration, a phenomenon that determines the lives of almost all Hungarian families. For one reason or another – economic or political –over half a million people, over 5% of the population have decided to leave Hungary in the past five years to try their luck abroad.
Gone for Good is mostly based on the actors’ improvisations, the scenes follow each other in a loose dramaturgical structure, some scenes are connected to each other, others are not.

All of the show’s music comes from János Háry, a Hungarian folk opera by Zoltán Kodály, an old Hungarian ”emigration story”, that of a veteran hussar in the Austrian army, who tells fantastic tales of his heroism. A Hungarian Peer Gynt of sorts. He goes to Austria, defeats Napoleon, but finally renounces all riches in order to return and settle down in his hometown with his sweetheart. In this version, they come home only to find a new, ultranationalist Hungary.

Cast: Ferenc Elek, Zoltán Rajkai, Györgyi Fekete, Judit Rezes, Adél Jordán, László Szacsvay, Tamás Keresztes, Péter Takátsy, Eszter Kiss, Bence Tasnádi, Hanna Pálos, Zétény Varga, Réka Pelsőczy, Laura Songoro, Ersan Dávid Helvaci
Set and costume design: Eszter Kálmán
Music: Tamás Keresztes
Choreography: Péter Takátsy
Video: Annamari Kazimir
Dramaturgy: Tamara Török
Assistant director: Judit Gerlóczi
Directed by Gábor Máté

The Katona József Theatre has been considered the most prestigious among all city and state theatres in Hungary since its foundation in 1982. To this day it remains most successful ensemble in the non-independent scene the internationally, with shows travelling around Europe, to the US and Australia, performing to great critical and popular acclaim. The new artistic director, Gábor Máté, brought about a renewal not only in the way the venue was partially re-designed with more open spaces, a bookshop, a strong TIE programme, but also with the kind of shows he often likes to stage, those with a very direct social relevance both in content and form.

This time the topic is emigration, a phenomenon that determines the lives of almost all Hungarian families. For one reason or another – economic or political –over half a million people, over 5% of the population have decided to leave Hungary in the past five years to try their luck abroad.
Gone for Good is mostly based on the actors’ improvisations, the scenes follow each other in a loose dramaturgical structure, some scenes are connected to each other, others are not.

All of the show’s music comes from János Háry, a Hungarian folk opera by Zoltán Kodály, an old Hungarian ”emigration story”, that of a veteran hussar in the Austrian army, who tells fantastic tales of his heroism. A Hungarian Peer Gynt of sorts. He goes to Austria, defeats Napoleon, but finally renounces all riches in order to return and settle down in his hometown with his sweetheart. In this version, they come home only to find a new, ultranationalist Hungary.

Cast: Ferenc Elek, Zoltán Rajkai, Györgyi Fekete, Judit Rezes, Adél Jordán, László Szacsvay, Tamás Keresztes, Péter Takátsy, Eszter Kiss, Bence Tasnádi, Hanna Pálos, Zétény Varga, Réka Pelsőczy, Laura Songoro, Ersan Dávid Helvaci
Set and costume design: Eszter Kálmán
Music: Tamás Keresztes
Choreography: Péter Takátsy
Video: Annamari Kazimir
Dramaturgy: Tamara Török
Assistant director: Judit Gerlóczi
Directed by Gábor Máté

Viktória Dányi, Csaba Molnár and Zsófia Tamara Vadas are three young contemporary dancers staging a piece based on highly personal ideas. Two young experimental musicians, Áron Porteleki and Ádám Czitrom also join them on stage for the production of SKIN ME. 

The five of them tell us about their relationships, loves, affairs, then they map, bare, skin and splinter them just to get closer. The scenes woven from dance and live music in the changing space the performers zoom into a scene of our lives, which gets a new meaning each time it is transformed. Both the dance and the music zigzag between unrestrained physical and emotional extremes, sometimes kindling, then extinguishing each other. Similarly, the piece applies and overlaps various performing genres with one another. Playful skinning out of love.   

Viktória, Tamara and Csaba studied at the Budapest Contemporary Dance Academy as well as abroad – at (P.A.R.T.S., London Contemporary Dance School, danceWEB). They have worked in various Hungarian and international dance companies and have taken part in international artistic collaborations.
They are all determining figures of the Hungarian contemporary dance scene working as choreographers, co-creators and dancers. Their work is characterized by experimentation and  multidisciplinary art forms.
SKIN Me won the Rudolf Lábán prize for best Hungarian choreography of 2013 and was part of the 2014 Aerowaves priority selection. Since its premiere SKIN ME has toured extensively all around Europe and will make its overseas debut in New York at the spring of 2016. 

SKIN ME was produced by SÍN Arts and Culture Centre, a Budapest-based production house active in the support and career development of the upcoming generation of Hungarian contemporary dance makers. More info: www.sinarts.org 

Choreography/performance: Viktória Dányi, Csaba Molnár, Zsófia Tamara Vadas
Music: Ádám Czitrom (guitar), Áron Porteleki (viola, drums) 
Set: Tóbiás Terebessy 
Costume: ARTISTA
Light: Kata Dézsi 
Production manager: Anikó Rácz
Produced by: SÍN Arts and Culture Centre, Budapest 
Supporters: Trafó House of Contemporary Arts, SÍN Arts and Culture Centre, départs, Cutlure Europe Programme of the European Union, National Cultural Fund, Ministry of Human Resources, Workshop Foundation, New Performing Arts Association 

Viktória Dányi, Csaba Molnár and Zsófia Tamara Vadas are three young contemporary dancers staging a piece based on highly personal ideas. Two young experimental musicians, Áron Porteleki and Ádám Czitrom also join them on stage for the production of SKIN ME. 

The five of them tell us about their relationships, loves, affairs, then they map, bare, skin and splinter them just to get closer. The scenes woven from dance and live music in the changing space the performers zoom into a scene of our lives, which gets a new meaning each time it is transformed. Both the dance and the music zigzag between unrestrained physical and emotional extremes, sometimes kindling, then extinguishing each other. Similarly, the piece applies and overlaps various performing genres with one another. Playful skinning out of love.   

Viktória, Tamara and Csaba studied at the Budapest Contemporary Dance Academy as well as abroad – at (P.A.R.T.S., London Contemporary Dance School, danceWEB). They have worked in various Hungarian and international dance companies and have taken part in international artistic collaborations.
They are all determining figures of the Hungarian contemporary dance scene working as choreographers, co-creators and dancers. Their work is characterized by experimentation and  multidisciplinary art forms.
SKIN Me won the Rudolf Lábán prize for best Hungarian choreography of 2013 and was part of the 2014 Aerowaves priority selection. Since its premiere SKIN ME has toured extensively all around Europe and will make its overseas debut in New York at the spring of 2016. 

SKIN ME was produced by SÍN Arts and Culture Centre, a Budapest-based production house active in the support and career development of the upcoming generation of Hungarian contemporary dance makers. More info: www.sinarts.org 

Choreography/performance: Viktória Dányi, Csaba Molnár, Zsófia Tamara Vadas
Music: Ádám Czitrom (guitar), Áron Porteleki (viola, drums) 
Set: Tóbiás Terebessy 
Costume: ARTISTA
Light: Kata Dézsi 
Production manager: Anikó Rácz
Produced by: SÍN Arts and Culture Centre, Budapest 
Supporters: Trafó House of Contemporary Arts, SÍN Arts and Culture Centre, départs, Cutlure Europe Programme of the European Union, National Cultural Fund, Ministry of Human Resources, Workshop Foundation, New Performing Arts Association 

With Conditions of Being a Mortal Hodworks has been selected Priority Company by Aerowaves and programmed at the 2015 Aerowaves Spring Forward Festival as well as dunaPart3 Hungarian Showcase of Contemporary Performing Arts.

The brave and innovative choreographer of the Hungarian scene Adrienn Hód presented her new creation in September 2014. The Lábán Rudolf Prize-winning company, Hodworks, with the talented dancers known from previous pieces (The way my father imagined it all, Dawn) and dramaturg Ármin Szabó-Székely, explore new sides of their creativity.

After the stripped-down, radical corporality of Dawn (2013), Adrienn Hód's new production is physicality woven into a chain of emotions. The subconscious opens in a trance invoked by continuous movement. Splinters of sexuality, arias of impulsive gasps, a game of robust yet refined and sensitive humour, negating taboos. The torsos of four dancers rendered as a tangling of their inner histories. A negotiation between heaven and earth, and a triumph over prosaic urban reality.

"The piece runs out of invention rather than steam, but maybe the point is to rub our faces in humanity’s cyclical behaviour patterns, juvenilia and gross excess. This willingness to go so skilfully, wackily ape-shit is very winning"

Donald Hutera (18.04.2015.), Spring Back review

„Hód’s work is a parody of styles using yet travestying the painfully blatant clichés of opera and theatre (first scene), and the mannerism of classical ballet (third scene). She is sparklingly playful with kitsch (second scene) while strongly building on the primary and raw brutality of the dancers’ existence on stage–dancers get wild and Hód seems to bring forward some of their faces that have never been seen before.”

Csaba Králl, (14.10.2014.), revizoronline.hu

"Adrienn Hód is a creative choreographer who, when she stumbles, always does so forwards. What is more, nowadays she does not really stumble at all. "

"The performance is engulfed by encounters in an existence with no stoppers, by the acceptance of playing with others and with ourselves, and by unconditional trust."

Ákos Török (16.09.2014), 7ora7.hu

"Hód’s work tends to uncover her unique working method which in a way equals her work itself–its transparency covers secrets, its matureness remains open yet harbors some exciting and proliferous uncertainties. The superb quartet of performers is unified yet each character can shine, the dancers feel and live the piece and themselves within and through the piece."

Márta Péter, (11.09.2014), tanckritika.hu

Performers: Marcio Canabarro, Emese Cuhorka, Júlia Garai, Csaba Molnár
Music consultant: Zoltán Mizsei
Consultant: Zsolt Sőrés
Dramaturgy: Ármin Szabó-Székely 
Choreography: Adrienn Hód
Music: Franz Liszt
Supported by: Ministry of Human Resource (H), National Cultural Fund (H), Budapest City IX. district, New Performing Arts Foundation (H), Workshop Foundation (H), SÍN Cultural Center (H), OFF Foundation (H), Mediterranean Dance Center San Vincenti (HR)

Based on what we have learnt about democracy and participation during the three days of the Budapest meeting in three hours we are going to put together a Bill of Rights as we, IETM participants perceive this key document of any democracy. What are the ten most basic rights we would all like to have in our constitution? Starting out as an assembly we will continue to work in ten small groups, each helped by a representative of an underprivileged group such Roma, gay, challenged, unemployed or homeless people, children, pensioners, refugees and single mothers.
All delegates are encouraged to join this unique experiment, a fusion between the working and the artistic programme.

With Conditions of Being a Mortal Hodworks has been selected Priority Company by Aerowaves and programmed at the 2015 Aerowaves Spring Forward Festival as well as dunaPart3 Hungarian Showcase of Contemporary Performing Arts.

The brave and innovative choreographer of the Hungarian scene Adrienn Hód presented her new creation in September 2014. The Lábán Rudolf Prize-winning company, Hodworks, with the talented dancers known from previous pieces (The way my father imagined it all, Dawn) and dramaturg Ármin Szabó-Székely, explore new sides of their creativity.

After the stripped-down, radical corporality of Dawn (2013), Adrienn Hód's new production is physicality woven into a chain of emotions. The subconscious opens in a trance invoked by continuous movement. Splinters of sexuality, arias of impulsive gasps, a game of robust yet refined and sensitive humour, negating taboos. The torsos of four dancers rendered as a tangling of their inner histories. A negotiation between heaven and earth, and a triumph over prosaic urban reality.

"The piece runs out of invention rather than steam, but maybe the point is to rub our faces in humanity’s cyclical behaviour patterns, juvenilia and gross excess. This willingness to go so skilfully, wackily ape-shit is very winning"

Donald Hutera (18.04.2015.), Spring Back review

„Hód’s work is a parody of styles using yet travestying the painfully blatant clichés of opera and theatre (first scene), and the mannerism of classical ballet (third scene). She is sparklingly playful with kitsch (second scene) while strongly building on the primary and raw brutality of the dancers’ existence on stage–dancers get wild and Hód seems to bring forward some of their faces that have never been seen before.”

Csaba Králl, (14.10.2014.), revizoronline.hu

"Adrienn Hód is a creative choreographer who, when she stumbles, always does so forwards. What is more, nowadays she does not really stumble at all. "

"The performance is engulfed by encounters in an existence with no stoppers, by the acceptance of playing with others and with ourselves, and by unconditional trust."

Ákos Török (16.09.2014), 7ora7.hu

"Hód’s work tends to uncover her unique working method which in a way equals her work itself–its transparency covers secrets, its matureness remains open yet harbors some exciting and proliferous uncertainties. The superb quartet of performers is unified yet each character can shine, the dancers feel and live the piece and themselves within and through the piece."

Márta Péter, (11.09.2014), tanckritika.hu

Performers: Marcio Canabarro, Emese Cuhorka, Júlia Garai, Csaba Molnár
Music consultant: Zoltán Mizsei
Consultant: Zsolt Sőrés
Dramaturgy: Ármin Szabó-Székely 
Choreography: Adrienn Hód
Music: Franz Liszt
Supported by: Ministry of Human Resource (H), National Cultural Fund (H), Budapest City IX. district, New Performing Arts Foundation (H), Workshop Foundation (H), SÍN Cultural Center (H), OFF Foundation (H), Mediterranean Dance Center San Vincenti (HR)

Based on what we have learnt about democracy and participation during the three days of the Budapest meeting in three hours we are going to put together a Bill of Rights as we, IETM participants perceive this key document of any democracy. What are the ten most basic rights we would all like to have in our constitution? Starting out as an assembly we will continue to work in ten small groups, each helped by a representative of an underprivileged group such Roma, gay, challenged, unemployed or homeless people, children, pensioners, refugees and single mothers.
All delegates are encouraged to join this unique experiment, a fusion between the working and the artistic programme.