Saturday, August 25, 2012

questionnaire with participant Gábor Varga (HUN/CH)



When have you been to Budapest - Hungary with your piece and artistic work earlier?
July 2011, in Szeged (Thealter Fesztival)

What do you know about Hungary and what kind of informations do you have about our dance life?
A lot about life in general, since I’m from Hungary, but not so much about contemporary dance life. I left the country before getting to know these circles well.

Do you have any preference who do you want to reach with your art and piece?
Anyone and everyone. This piece was created with the idea of reaching out to the audience and going to them rather then making them come to us.

What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works?
It’s the first piece that we (at least I) have created for a non-thatrical environment. It is meant to play on the street, in parcs, in galleries, in bars, etc. But of course it can be adapted to a stage as well.

What exaclty did you work on with this piece and where did you perform it already?
We worked on our common roots and common present. We both come from Hungarian culture, both did a lot of hungarian folk dance. And we both ended up contemporary dancers/choreographers in Geneva.

Do you have any hobby beside working as a dancer or creator?
I love scooba diving, but unfortunately it’s not often that I can do it.

Can you write some details about your artistic life - which direction did you come from and which direction do you go right now? Tell us some important steps from your background!
I come from hungarian folk dance. I was very, very much involved, going to “tanchaz” 3-4 times a week, dancing with several groups, wearing various pieces of traditional clothing on the street... From that  I went straight to Brussels in one of the best schools for contemporary dance and discovered this new universe with it’s different techiques, improvisation, creation. I was captured by this vast, open sea of possibilities as opposed to the closed atmosphere of the traditional dance. Today I practice both for the love of their respective advantages. JINX 103 is in a way a destillation of this double face of mine))

How did your summer time go? Did you get any new inspirations?
Family, kids, teaching, heat, lake, more kids, new job, Geneva, Budapest. 

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense?
In my experience, different countries have different audiences because of their different cultural and sociological background. Some countries have to work hard to bring in audiences to see dance.
I’ve danced in pieces that were well received anywhere we played them and also in ones that got cheers in one country and nearly booing on another. Both are a great experience for obviously different reasons.

Do you work and show your work for getting applause (for the audience) or does the working process mean anything else for you? What kind of feedback are you open for?
When I start a creation my departure is the concept of the piece I want to create regardless of the fact that it might or might not please my audience. But somehow I trust that if I work on something relevant for me, it will be interesting to watch in the end. So, of course I find the opinion of the audience important.
During the creation I often invite people to see where I’m at in my process. Process is equally important to me to the product. But that’s something the audience might not care about, it’s for my own benefice.

Do you read critics about your works? What kind of critic do you need?
I do, all of them if I can. All of them interest me.

Do you criticize other’s works? Do you write about it?
If I’m asked to give criticism, I do it. Otherwise I dont make a point of writing about other’s work.

Are you open for a round table discussion with the audience after a premier or after your show?
Absolutely, right after I cought my breath))

Here you find some words, could you put them in sentences which could be kind of ars poetic of you!
COMMUNITY, GETTING CLOSER, EXCHANGE, FILLED IN, RELIGION, NATION, HOMAGE, HUG, PERFORM, POPULAR, ORGANIC FOOD, SENSE
I’d rather not. Out of lazyness, but also because I don’t think everything should be written down and named.

Do you have any question?
I might, once I face the audience after the show.

Gábor's performance (with József Trefeli) takes place on 19th September in MU Theatre.

questionnaire with participant Enikő Buday (HUN)



When have you been to Budapest - Hungary with your piece and artistic work earlier?
I’m Hungarian. I grew up in Budapest, and currently live in Szentendre. I travel a lot, but I perform occasionally in Budapest as well.   

What do you know about Hungary and what kind of informations do you have about our dance life?
As a Hungarian, I’m aware of the vast cultural history of the country, despite its small size, which is evident  especially in the contemporary dance and underground art world, where everyone knows each other. The current state of politics, and the regime’s long armed tactics towards culture and the arts is truly sad within such a small community.   

Do you have any preference who do you want to reach with your art and piece?
I would like to reach anyone and everyone, who are, or would like to be interested in my work. 

What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works?
The type of performance art which I believe in, deals with the constant continuity of the creation without the  repeatability of the action itself. At  the L1danceFest I will perform within the FrissekMiniFest (Speciál). Functionally, it means I have around 10 minutes solo on stage. This amaunt of time means difference from my usual performance structure. 

What exaclty did you work on with this piece and where did you perform it already?
I will  answer this question after my performance. I do not talk about what I will do, I prefer to go on stage without preconceptions. I like to leave the audince’s association and immersion free. 

Do you have any hobby beside working as a dancer or creator?
I create digital artworks. This was just something that I played with before, but it’s getting more and more significant in my life. I publish them on Facebook.   

Can you write some details about your artistic life - which direction did you come from and which direction do you go right now? Tell us some important steps from your background!
I'm a freelance experimental dancer and performer.  In my dance and theatre studies I have been paying more and more attention to and examining the possibilities of the forces inherent in improvisation. In this I creates space specific - situation specific - movement and object based performances. The main focus is on the body. Body is as psysically material as well the space.  I would like to name two dancers/directors, who I have worked with and who developed, confirmed and significant influenced my approach, my own creative works and dance: Tanaka Min (2006) and Josef Nadj (2009). More details about me are on my blog. 

How did your summer time go? Did you get any new inspirations?
Thank you for the question! I love summer, but my preferred season is autumn. I like cool weather and the color of nature during the autumn season. My inspirations have nothing to do with seasons .   

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense?
I don’t think so.   

Do you work and show your work for getting applause (for the audience) or does the working process mean anything else for you? What kind of feedback are you open for?
I don’t do it for the applause. I do it for the reaction which I get afterwards, whether it’s positive or negative. Of course I like appreciaton, but it’s not a motiveting factor. Dialogue is what motivet me. 

Do you read critics about your works? What kind of critic do you need?
I never wanted to, or  want to suit their requirements, eventhough I think criticisism is inevitable. Constructive criticism can be useful in developing one’s own work. 
Sometimes after a perfromance, I get an email from an audience member in which she/he spends time to write about my work, and lets me know her/his impressions and feelings,  is one of the most beautiful feelings a performer can get in my opinion. Also, I have the same beautiful feeling when someone gets inspired by my work.  

Do you criticize other’s works? Do you write about it?
Yes, I do. I’ m very critical, but I prefer conversation.     

Are you open for a round table discussion with the audience after a premier or after your show?
Yes.

Here you find some words, could you put them in sentences which could be kind of ars poetic of you!
COMMUNITY, GETTING CLOSER, EXCHANGE, FILLED IN, RELIGION, NATION, HOMAGE, HUG, PERFORM, POPULAR, ORGANIC FOOD, SENSE
Fill in the Organic food nations community and get closer to the sense!!! Homage exchange religion

Do you have any question?
No question But I would like to say thank you for the L1danceFest organizers! I m happy to be invited and looking froward to be there with all of You.  

Enikő's performance takes place in the frame of Frissek Speciál on 23rd September at 5 pm in MU Theatre.

questionnaire with participant József Trefeli (HUN/CH)



When have you been to Budapest - Hungary with your piece and artistic work earlier?
I have performed many times in Hungary with my own work and as a member of Alias Cie, at Szegedi Thealter Fesztivàl, TRAFO and Petöfi Csarnok. JINX 103 was the last work I performed in Szeged july 2012.

What do you know about Hungary and what kind of informations do you have about our dance life?
Even though I was born in Australia, I have a close connection to Hungary as both of my parents are Hungarian. My relatives are mainly in Hungary and I have many close friends involved in the world of Traditional Hungarian Dance. In the stage work I have seen of Hungarian performers, they come across as strong technical  dancers with excellent training and as performers with charismatic stage personalities.

Do you have any preference who do you want to reach with your art and piece?
JINX 103 focusses on reaching a broad range of audience. Novice and experienced audience members , young and old, have given the work a very positive reception. JINX 103 is both straight forward and complex in its themes and goals. There is something for everyone. We take this dance to the people and bring the audience very close to us, aiming to give everyone a front row seat. 

What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works?
In my recent  work I have aimed at challenging my own and the audiences expectations of dance, aiming for new territory in performance through the juxtaposition of two themes, genres or artforms. In this case JINX 103 combines movement and music,  contemporary and traditional dance and rhythm and ritual.

What exaclty did you work on with this piece and where did you perform it already?
For JINX 103 we created a dynamic space for the movement of two male bodies which listen to one anothers music and movement to dance together in an honest way discovering something new for each and every performance.
Past performances include; Fête de la Danse, Geneva & Meyrin(CH), KC Dunaj, Bratislava(SL), Thealter Fesztival (H), Tanzwoche, Dresden(D), Fête de la Danse, Fribourg(CH), Festival Dehors Dedans, Annemasse(F), Festival Format, Juvinas, Ardèche(F) 

Do you have any hobby beside working as a dancer or creator?
Teaching Traditional Hungarian Dance

Can you write some details about your artistic life - which direction did you come from and which direction do you go right now? Tell us some important steps from your background!
In Australia I began in Musical Theatre as a Tap dancer and singer performing in shows like West Side Story and Show Boat. I moved into Contemporary Dance as it presented new challenges to me as a performer, creater and audience member.  In 1995 I  left Australia to discover the world stage, travelling via San Francisco, and New York to get to Europe, setling in Geneva in 1996 where I joined Alias Cie. After 8 years of creations, I decided to begin a new journey delving into my own work as a choreographer. Since 2005 I have created 12 original works for my own company as well as working as choreographer for Dance Schools, Theatre and Opera Companies in Switzerland. Besides all that, I still enjoy working as a dancer for other choreographers, when I find the time.

How did your summer time go? Did you get any new inspirations?
This summer I travelled to Australia to reconnect with my family and friends. Renewing old ties is always reassuring and gives me strength to want to continue my creative research. I heard a particularly inspiring story about a successful  Artist who only had a 20 year career as a painter. So short a career because she only picked up a paintbrush at the age of 80. The future is bright.

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense?
Different cultures have varying ideas about comfortable distances between performer and spectator. In JINX 103 we take our dance so close to the audience that we enter their “personal space”. Each population deals with this differently, some back away from us leaving us alot of room to dance and others crowd in to get up close and personal. Some even lay down comfortably with their legs hanging in to the space forcing us to step over them in our dance.

Do you work and show your work for getting applause (for the audience) or does the working process mean anything else for you? What kind of feedback are you open for?
Creating contemporary dance is about challenging preconcieved ideas. What is a performance space? What is movement? What can we combine with what else to come up with something new and original? Applause is not simply a response to entertainment but also a sign of respect for the originality of an artistic proposition and not merely a successful outcome. Of course we aim to achieve all of this and more but researching new and unchartered territories means there is plenty of room for failure. Each creation is a step towards the next creation and an Artist is judged by his or her entire body of work  and not by one single show. 
All feedback is welcome. It is up to the Artist to choose to take the information on board or not.

Do you read critics about your works? What kind of critic do you need?
I mopst definitely read critiques about my work. A written evaluation is important as it shows that the work was worth writing about. Especially if the writer is an expert in the field and is capable of expressing their opinions with a skilled pen in hand. Most importantly a written critique affirms the existence a work. If nobody was to write about live performance then the only record we are left with is a badly filmed, poor quality, two dimensional video of a performance that was conceived to be seen live. “as above” All feedback is welcome. It is up to the Artist to choose to take the information on board or not.

Do you criticize other’s works? Do you write about it?
I am not a writer, but am happy to share my opinion on work I feel strongly about, on work that has made me sit up and notice something special or original about it.

Are you open for a round table discussion with the audience after a premier or after your show?
Absolutely. Yes.

József's performance (with Gábor Varga) takes place on 19th September in MU Theatre.

questionnaire with participant Tomas Marny Moravek (CZ)




When have you been to Budapest - Hungary with your piece and artistic work earlier?

In 2011 I was taking part of the festival L1danceFest with the show of Jan Bárta ,,Is this about paradise? ...not exactly”.

What do you know about Hungary and what kind of informations do you have about our dance life?
That it's difficult to understand your language. I like your dance scene. You have great dancers.

Do you have any preference who do you want to reach with your art and piece?
All humans sitting in the audience room of the theatre.


What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works?
It's my first Visegrad cooperation – a collaboration between Czech, Polish and Hungarian artists.

What exaclty did you work on with this piece and where did you perform it already?
I created the light design for the performance Josha – a portrait. We have played it in: Bratislava (SK), Budapest (HU), Poznan (PL).

Do you have any hobby beside working as a dancer or creator?
My hobby is my work, my work is my hobby.

Can you write some details about your artistic life - which direction did you come from and which direction do you go right now? Tell us some important steps from your background!
I feel more like a technician than an artist, someone who is supporting artists to realize their ideas by the help of light design. My way (direction) is to educate myself all the time. The biggest step for me was to admit to myself that I want to work as a technician and to do what I want to do. Seemingly aasy but still a difficult choice.

How did your summer time go? Did you get any new inspirations?
I have had a great summer. A lot of work and a bit of holiday. I got inspired while diving in Slovenia where the light breaks on the water surface.

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense?
Every space and every person is different. We are comming from different backgrounds, we think differently, we see differently the colours, the sunset, the sunrise and I love these differences. Life is more colorful this way.

Do you work and show your work for getting applause (for the audience) or does the working process mean anything else for you? What kind of feedback are you open for?
Applause is nice but it's a very fleeting thing. I like constructive feedbacks but the best is if you have nothing to say about the show.

Do you read critics about your works? What kind of critic do you need?
I’ve never read critics about my work but I would like to read some. Important critics are mostly coming from the creative team of the show.

Do you criticize other’s works? Do you write about it?
If I would have something to say about it. Not yet, but once it must happen.

Are you open for a round table discussion with the audience after a premier or after your show?
I love it, for me it’s some kind of obsession as the adrenaline in sports. During those discussions I have the feeling of being naked in front of the audience. Naked without any theater - technical and other tricks. Face to face with reality.

Here you find some words, could you put them in sentences which could be kind of ars poetic of you!
COMMUNITY, GETTING CLOSER, EXCHANGE, FILLED IN, RELIGION, NATION, HOMAGE, HUG, PERFORM, POPULAR, ORGANIC FOOD, SENSE
To be a theatre maker is a COMMUNITY job.
In the theatre we are GETTING CLOSER to each other for the time of show.
EXCHANGE keep us alive.
I cannot wait when this Questionnare will be FILLED IN.
About RELIGION I have nothing to say today.
What does it mean NATION?
HOMAGE is to eat fruit dumplings with cottage cheese.
Let's HUG!
Peter PERFORMs playing piano and pause presence.
POPULAR people die like others.
ORGANIC FOOD left my plate.
It doesn't make SENSE.

Do you have any question?
NO!

Tomas is the lighting technician of Sunna No Onna which takes place on 19th September in MU Theatre and lighting designer of JOSHA - a portrait which  takes place on 21st September in MU Theatre.

questionnaire with participant Naoko Tanaka (J/DE)



What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works?
"Die Scheinwerferin" (The shine-thrower) employs light and
shadow to reveal new dimensions of „appearance“ and „reality“.
It is a fictive journey into oneself. 
Using simple means, only one small flashlight creates powerful „illusory world“ and it takes over the whole space, flows, disappears and reappears again.

What exaclty did you work on with this piece and where did you perform it already?
With this piece, I´m conducting a focused study of the experimental and 
artistic possibilities of movement that still remain latent in the performance arts.
Until now I performed the piece in sevelall Cities in Germany, Netherlands, Italy, Switzerland, Austria, Serbien and France. And the tour 2012 will continue to Hungary and Belgium.

Can you write some details about your artistic life - which direction did you come from and which direction do you go right now? Tell us some important steps from your background!
My background is visual art. I worked with an choreographer as an artist-collective for 9 years and developed performances and installations, in which choreography and visual arts 
are intimately related. In 2010 I started to work own production and my first solo piece is “Die Scheinwerferin“, which I´m going to present in L1 festival now.
I create not only the concept of the installation and performance but also the visual and sound design. 

Naoko's performance takes place on 20th September in Bakelit M.A.C. Hangár.

Monday, August 20, 2012

questionnaire with participant Lea Chapkova (Nanohach CZ)


When have you been to Budapest - Hungary with your piece and artistic work earlier?
4 years ago we performed in Mu theatre with our company Nanohach piece "Portret" made by rumanian chor Ioana Mona Popovici (at L1 Cont. Dance Festival)

What do you know about Hungary and what kind of informations do you have about our dance life? 
I had possibility to meet few young hungarian dancers, choreographers and I was surprised how different with different backronds they were. We have similar history not only in dance so there is some understanding and easiness in discussing and sharing.

Do you have any preference who do you want to reach with your art and piece?
I do not have any specific image who I want to reach.

What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works? 
This piece "Sunna no onna" was made for 3 dancers to perform it outside in parks and gardens for large public not only for theatre public. In Budapest I will perform a solo version for theatre.

What exaclty did you work on with this piece and where did you perform it already? 
I performed it just on different places in Czech rep.

Do you have any hobby beside working as a dancer or creator? 
Because I am also teaching at different places I do not have really some specific hobby exept winter sports.

Can you write some details about your artistic life - which direction did you come from and which direction do you go right now? Tell us some important steps from your background! 
First step made my mother - she gave me to dance studio and I fell in love with it. In 1992 was opened first contemporary dance school in Prague - we were the first generation. Than I studied at P.A.R.T.S. and I met new world of dance. After I traveled with company "Deja donné" so I could see and be on different places and meet interesting people. After coming back to my country we started our company Nanohach we try to be part of dance field still cooperate with people from abroad. At the same time I teach at conservatory young students of dance.

How did your summer time go? Did you get any new inspirations? 
I spent summer time with my family and little son so it was more about being with people which are most close to me and get power from that.

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense? 
I feel more free in front of people who does not know my history and backrond. And of course there is a curiosity how people with different culture will react.

Do you work and show your work for getting applause (for the audience) or does the working process mean anything else for you? What kind of feedback are you open for? 
of course applause is great satisfaction but I love process of creation of meeting with other dancers and researching.....

Do you read critics about your works? What kind of critic do you need? 
I read critics. Positiv critic is for me always big impuls to continue and to believe in what I do. But critic which would give me new impuls would be also great but this is very rare.

Do you criticize other’s works? Do you write about it? 
I try to say critics but it is difficult to find right words to say and to help. I do not write them.

Are you open for a round table discussion with the audience after a premier or after your show? 
Yes

Here you find some words, could you put them in sentences which could be kind of ars poetic of you!
COMMUNITY, GETTING CLOSER, EXCHANGE, FILLED IN, RELIGION, NATION, HOMAGE, HUG, PERFORM, POPULAR, ORGANIC FOOD, SENSE
     To fill in , to get closer , to hug people you love....
      is there a way to perform that feeling?
      is there a way to exchange our lifes?
      Everybody have a nation ,some of us religion, home where you belong
      where somebody cook organic food...........

Lea's performance takes place on 19th September in MU Theatre.