Friday, August 22, 2014

Questionnaire with participants Lukáš Karásek (CZ) and Florent Golfier (FR)

photo: Petr Chodura

Have you been (when) to Budapest - Hungary with your pieces and artistic works earlier?
No we haven’t, but we are looking forward /Lukáš is performing with Florent Golfier – ed./

What do you know about Hungary and what kind of information do you have about our dance life?
We know that Budapest was two cities and we hope that dance every time is possible there.

Could you share with us if you have any idols in theater/dance life?
Yes, we both love Claudio Stellato.

What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works? Where did you perform it already?
It’s Tešlon & Frkl, it is about two beings in a space where people can’t live. It’s our first work together. We performed it mostly in Czech Republic and one time in Avignon’s theatre festival in off off off program :)

Do you have your artistic statement, could you share with us?
Well, I’m not sure what are you asking for.

Do you have any hobby besides working as a performer or creator?
Yes, I’m a carpenter, I build roofs. And with Flo we love fishing.

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!
We eat lot of Nutella when we are rehearsing. In the field of the physical theatre, one of us like more dance, the other one prefer masks.

How did your summer time go? Did you get any new inspirations? Do you have a best experience during this summer?
We were swimming few times and some inspirations come from it. 

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense?
No, it really doesn’t. We are both from different countries.

What does it mean to you to be in the process and to show the work to the audience? What kind of feedback are you open for?
It’s amazing. We are opened to any feedback.

Do you read critics about your works? What kind of critic do you need?
Every critic is needed. It’s good for us is if we read critic, so yes, we do read them.

Do you criticize other’s works? Do you write about it?
We can’t write but we talk to each other.

Are you open for a round table discussion with the audience after a premier or after your show?
Will there be a banquet? Yes, we are open to everything.

Here you find some words, could you put them in sentences which could be kind of ars poetic of yours!
COMMUNITY, GETTING CLOSER, EXCHANGE, FILLED IN, RELIGION, NATION, HOMAGE, HUG, PERFORM, POPULAR, ORGANIC FOOD, SENSE, QUALITY, SHARE, FACE
It’s a homage when a community shares its faces filled with sense. You can hug them and they start to perform – it brings you quality, exchange and it’s getting you closer to them. They are not just nation, they are our religion.

Do you have any question?
Is it possible to swim in Danube?

Thursday, August 21, 2014

Questionnaire with participant Zsuzsanna Simányi (H)

photo: Szabó Roland

Have you been (when) to Budapest - Hungary with your pieces and artistic works earlier?
I think for me, working abroad would mean real variety. (I’m from Budapest.)

What do you know about Hungary and what kind of information do you have about our dance life?
As a local one, I know most of the mainstream and non-popular companies, and I know the educational opportunities as well.

Could you share with us if you have any idols in theater/dance life?
Hard to answer... I adore Ariane Mnouschkine, Pina Bausch… 

What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works? Where did you perform it already?
I bring a monolog written by György Baráthy. This monolog was a part of my last piece – Hotel Love – in which blind participants and professional actors worked together.

Do you have your artistic statement, could you share with us?
I’m too verdant for statements. Ask me later.

Do you have any hobby besides working as a performer or creator?
Every day of my marriage is like the best hobby ever.

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!
When I was a child, I wanted to be an opera singer, and my dream came true when I had chance to sing as a child-actor in some opera.
Now, I have my DLA project – a course of University of Theater and Film Arts, about documentary theater. That is what I’m interested in nowadays. In 2013 I had a piece with homeless people, it was a determining experience...

How did your summer time go? Did you get any new inspirations? Do you have a best experience during this summer?
It was too short... This summer I haven’t worn my bikini yet. 

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

What does it mean to you to be in the process and to show the work to the audience? What kind of feedback are you open for?
After my first premier I hid from my family and from the audience in the tiring-room. But I get used to it. You have to be opened for everyone, but you have to be able to ’filter’ the things you get. You have to decide which pieces of information really serve the concept which ones don’t. 

Do you read critics about your works? What kind of critic do you need?
Yes I do. Detachment can be useful. 

Do you criticize other’s works? Do you write about it?
I have opinion, but I don’t write it down...

Are you open for a round table discussion with the audience after a premier or after your show?
Maybe. It depends on the situation, but it sounds good.

Here you find some words, could you put them in sentences which could be kind of ars poetic of yours!
COMMUNITY, GETTING CLOSER, EXCHANGE, FILLED IN, RELIGION, NATION, HOMAGE, HUG, PERFORM, POPULAR, ORGANIC FOOD, SENSE, QUALITY, SHARE, FACE
EXCHANGE. 

Do you have any question?
Thanks for patience. 

Tuesday, August 19, 2014

BROCHURE of L1danceFest 2014 JUST ARRIVED

graphic design by Anna Korolovszky

Thursday, August 14, 2014

Questionnaire with participant Katalin Lengyel (H)

Fotó: Szabó Roland

How did your summer time go? Did you get any new inspirations? Do you have a best experience during this summer?

With the piece called "Dancing Graffiti" of BANDART Productions we got invited to several festivals in Europe such as to Linz, to Belgium, to Győr or to the Tanzmesse in Düsseldorf. In September we are going to two festivals in Germany and to Austria to perform. I enjoy all of the festivals, it is such a special way of being. If I could, I would spend most of my times by being in a festival setting. I also taught a lot this Summer.

check Katalin's questionnaire from 2013 as well

Wednesday, August 13, 2014

Questionnaire with participant Eszter Herold (H)

photo: Szabó Roland

Have you been (when) to Budapest - Hungary with your pieces and artistic works earlier?
As I am a Hungarian artist and teacher of dance, I mostly perform my works here, in Budapest.

What do you know about Hungary and what kind of information do you have about our dance life?
A lot of inspiring things are happening, although independent artists are not supported and not well-financed. I am wondering how long the energy of freelance and alternative theater makers will last. I cross my fingers. And I am praying.

Could you share with us if you have any idols in theater/dance life?
I wouldn’t use the word IDOL. I have learned and I am still learning a lot from the works and philosophy of Pina Bausch, Sasha Waltz, Márta Ladjánszki, Gábor Goda, Csaba Horváth and Joseph Nadj.

What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works? Where did you perform it already?
My piece titled VISITATION is going to be a premiere at L1danceFest 2014, so I haven’t performed it yet. I have danced just a short part of it in Hradec Králové (Czech Republic) in July, where I could spend 3 deep and intensive weeks with creating and searching in the frame of Visegrad Artist Residency Program, with a scholarship I have won last year. 
It is going to be a duet with Ági Gyulavári. The last time I have created a duet (mostly I make solo performances) was 2011, so I am very excited about this work – I am wondering, if I have improved, if I am ready, mature and experienced enough to lead a creating process. I feel the responsibility of it. In the creating period I am in the 5-6th months of my pregnancy, so I have to deal clever with a lot of constantly changing phenomena – energy, time, body-state, mood, physical and mental borders of female being. 
Visitation is a part of a complex artistic idea called CONVEX PROJECT – which I have started to build up in June 2013. Nine artistic works (dance pieces and visual art installations) are planned to create (reflecting on the nine months of pregnancy) until the end of 2014. Five of them are ready. The topic of CONVEX PROJECT is waiting and wasting, the physical and psychical erosion of female being, whose body and inner world is ready for conception, but she still doesn’t get the child she desires for.
During the working process my life has changed all of a sudden – I have got engaged in December and have got pregnant in March. So I have changed the direction but not the basic topic of the project.
VISITATION is inspired by a short story of the New Testament, the meeting of Mary and Elisabeth.

Do you have your artistic statement, could you share with us?
Tactility is my (artistic) statement.

Do you have any hobby besides working as a performer or creator?
I am writing. I have already published a few times some lyric texts, but that is an other kind of life. You need the same awareness like in dance, but you need more silence and more time for that. I have just one life. When I am dancing, I am not really writing. The time I will be not dancing, I will write. I am quite sure. 

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 did not start dancing at the age of 4. Therefore I had to work harder and in a different way than others to achieve talkative, expressive and prime movements. I also had to have long and honest discussions with my body – I had to understand its limits and to find and raise a universe between these boundaries. Of course, I have studied through a lot of contemporary dance genres, but because of the facts mentioned above, as a
dancer and as choreographer I had to work out my own non-verbal vocabulary, which is not written and which will never be fully accomplished – it has to be constantly formed and improved by myself. My work as a creative movement teacher is quite unique in Hungary, since there are just a few secondary schools of arts and drama incorporating this subject in their curriculum. I am searching the frontiers of dance, being interested in common human gestures, in simple physicality, in common human needs and motivations which let people move, and which are universally understandable. 

How did your summer time go? Did you get any new inspirations? Do you have a best experience during this summer?
I had to teach at my workplace (Nemes Nagy Ágnes Secondary School of Arts) until the end of June. On the 1st July I was leaving to Hradec Králové (Czech Republic) with Zsuzsi Palman graphic artist, where we spent three weeks with planning, dreaming and creating. In August I had my 33rd birthday, have started the rehearsal period of VISITATION, and I am waiting for my baby - I am in the 6th month already.

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense?
Maybe in abroad people and organizers do not look at your papers. I am not a qualified dancer (I have 3 degrees - Hungarian literature, German language and literature - Dramapedagogy - but no one in dance). In Hungary I see, that if you haven't graduated at one of the two dance high schools of Hungary, your name is not appreciated. You have no real chances on stage and in ensembles. 

What does it mean to you to be in the process and to show the work to the audience? What kind of feedback are you open for?
In the last years I have learned how important, useful and helpful it could be to have a supervisor during the creating process, who is not involved in the project as a creating person, but who knows and understands the frames and directions of your work and aim, so he/she can have "objective" point of views and opinions. Now I have two partners, who will guide the Visitation: Ádám Márton Horváth, the composer of the piece, and Zsuzsi Palman, with whom we go on with the creating of the missing parts of the CONVEX PROJECT. 
The rapid feedback of the audience is another thing - and a totally other genre. That is more difficult to carry, because people you meet there directly, will not know you, they come with different backgrounds and with different levels of understanding and sensitivity. Still I am open for meeting them. Although, pregnancy is a very special state of mind and mood. 

Do you read critics about your works? What kind of critic do you need?
I always read everything, if there are any written critics available. I need open-minded, progressive feedbacks. Conversations. Dialogs.

Do you criticize other’s works? Do you write about it?
If people ask me to give feedback, I do. Earlier I have published a few critics in dance on a literary web page. Now I have no time for it. Although I think it is useful for me to summarize and to give form to my metaphoric and mostly non-verbal impressions. 

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

Here you find some words, could you put them in sentences which could be kind of ars poetic of yours!
COMMUNITY, GETTING CLOSER, EXCHANGE, FILLED IN, RELIGION, NATION, HOMAGE, HUG, PERFORM, POPULAR, ORGANIC FOOD, SENSE, QUALITY, SHARE, FACE
To share hug is the religion - creating community is the performance itself - to sense faces, getting closer and closer to others and to myself. 

Do you have any question?
no.


Monday, August 11, 2014

Questionnaire with participant Ádám Márton Horváth (H)

photo: Szabó Roland

Have you been (when) to Budapest - Hungary with your pieces and artistic works earlier?
I’m living and working in Budapest. Previously there were films and dance performances for which I created music, but this will be my first time performing my music, live on my own. 

What do you know about Hungary and what kind of information do you have about our dance life?
I don’t know much about our dance life, but in the last few years I’m starting to get some look into it, and I was lucky to be a bit part of it thanks my music, lately. 

Could you share with us if you have any idols in theater/dance life?
I’m not really into theatre and dance, so I can’t really pick idols.

What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works? Where did you perform it already?
I’ll bring an earlier piece of mine, which is an instrumental theme played on guitar, called Így érünk össze ketten egy világgá (This is how we meet as one world). It’s a reverb delayed song, which will be a bit transformed and completed with a kind of an intro part. It was never played live before, so this will be not only my, but its first debut.

Do you have your artistic statement, could you share with us?
I don’t really have.

Do you have any hobby besides working as a performer or creator?
Beside music my other big hobby is film. I’m a big film lover.

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’ve never really studied musical theory. I’ve studied guitar as a teenager for 2 years from Attila Csikós jazz guitarist, but I became lazy and lost some interest. I was more likely into films later, because that’s what I was studying at university. I’ve collaborated in some experimental shorts as an actor or writer, director, but I couldn’t find my own voice. Then in 2009 a friend of mine, Peter Lichter was making a found footage film for which I was trying to make some music and it worked, I really liked it. Until now we’re still working together in various experimental shorts and we made nice successes all over the world. In 2010 I’ve met Eszter Herold, a dancer, choreographer and teacher, with whom I’ve started to work on her student physical theatre performances. Later I’ve created music for her solo performances also, with which she also had international success. Through her work I’ve started to like and gained some interest in physical theatre. I’m looking forward working on both art films and dance, and hope to start some live musical project in the future. 

How did your summer time go? Did you get any new inspirations? Do you have a best experience during this summer?
I’ve listened a lot of music and I’ve been to some concerts for example at Rakéta festival, which always inspires me in some ways, mainly in going live from the bedroom space. 

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense?
I’ve never played my pieces live in other countries, but I’ve seen dance performances abroad with my music, which is always a great experience for me.

What does it mean to you to be in the process and to show the work to the audience? What kind of feedback are you open for?
I’m open for any feedback that is helping me going on either negative or positive. Whereas I’m more likely a bedroom musician, it’s very important to me to see any of my work live in dance performances, or in films.

Do you read critics about your works? What kind of critic do you need?
I read any kind if there is any . I’m mostly working in underground/alternative sides of art and there’s not much critic about it .

Do you criticize other’s works? Do you write about it?
No, not really. Rarely I write about films, but I’m not really satisfied with my writing skill.

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

Here you find some words, could you put them in sentences which could be kind of ars poetic of yours!
COMMUNITY, GETTING CLOSER, EXCHANGE, FILLED IN, RELIGION, NATION, HOMAGE, HUG, PERFORM, POPULAR, ORGANIC FOOD, SENSE, QUALITY, SHARE, FACE
First of all I need a HUG and would give a HUG to anybody . PERFORMing anything you’ve created is one of the most exciting and beautiful things in the world. QUALITY reminds me of perfection, but for me perfection is not always a goal, being imperfect and set a FACE against purity and perfection is sometimes more interesting. FACE reminds me of Bergman. I want to SHARE my works with as many people as possible, but I know me and my music’s borders, which I try to push to be wider. A creative and thinking COMMUNITY is important to me, to EXCHANGE thoughts with people especially while working together, but I’m also a big loner in a lot of ways.

Do you have any question?
I have a lot of questions. I think that’s the only way how creating and working together works.

Thursday, August 7, 2014

Questionnaire with participant Benjamin Jarrett (USA)

photo: Végel Dániel at CEU

Have you been (when) to Budapest - Hungary with your pieces and artistic works earlier?
No. My only involvement in the dance community here, until this project with Márta and Zsolt, has been through my dance workshops, first at the Mozdulatmüvészek Háza from 2008-'10 and '13, and later at Zéróplusz Táncstúdió in 2013-'14.

What do you know about Hungary and what kind of informations do you have about our dance life?
This is such an open question I don't think I could answer it in brief. I know a lot and a little, depending on the angle from which I put my attention and whomever listens.  

Could you share with us if you have any idols in theater/dance life?
I've spent too long idolizing certain performers and teachers in my life that I rather would prefer just to say that I have huge respect for certain (if I only list the living ones) people like Ladjánszki Márta, Mateo Lugo, Haruko Nishimura and the Degenerate Art Ensemble, Sherwood Chen, Nora Chipoumire, Ivo Dimchev, Anna Halprin, Min Tanaka, company Derevo, Czap Gábor, Nagy József, Ohad Naharin, Yuko Kaseki, Diego Agullo ... I could go on and on.

What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works? Where did you perform it already?
The solo Márta and I have made is a meditation. It starts and finishes and one of my challenges throughout the performance of the piece is to stay in contact with that elusive thread which connects each piece together. This is the first time I've asked someone to choreograph a piece on my body. Of course the process was/is collaborative in nature, but it's Márta's vision, direction and aesthetic, all of which I have huge respect for, which is why I asked her in the first place. 

We've performed the piece once at the Trafó rehearsal studio as a work-in-progress showing, and at the CEU campus as a site-specific public showing, however the performance for this festival will be the official premiere, along with full lighting by Czech lighting designer Tomas Moravek.

Do you have your artistic statement, could you share with us?
I grew up in Tucson, Arizona amid the sun, cactus and hard ground.  My acting training stems from my own social survival skills as an extremely shy child. I developed a way to be socially involved, yet able to escape at any moment. I learned how to disappear, blend in, and to go with the flow; but this training also taught me patience and sensitivity to atmosphere.

I am a father, a husband, a feminist, a dancer, a creator, a teacher. I am multinational, multicultural, multilingual. I have not one home but many. My home is the desert, the ocean, cityscape and countryside. I am an equal resident of both Central Europe and the Western United States, and feel at home in both. At the same time, I feel foreign in both, and it is this polychotomous, rather in-between, existence that has given me a unique perspective which I bring to my work.

I’ve performed internationally for/with such artists as Anna Halprin, inkBoat, Tadashi Endo, Mateo Lugo, and Márta Ladjánszki; simultaneously staging my own pieces and teaching regular movement workshops in Serbia, Hungary and the San Francisco Bay Area.

My greatest teachers are my wife, Petra, who is a constant inspiration to me, teaching me something new every day and always keeping me on my toes; and our daughter, Ilona, who lives each moment what I strive to learn and share: relating to everything and everyone in her environment as equals, with respect and playfulness.

Do you have any hobby beside working as a performer or creator?
I love to cook, especially Indian and Arabic food recently.

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!
Oh my, so complicated. Let's see ...
... competitive swimming, Japanese martial arts, classical ballet, modern dance (mostly Graham a little Limon), Cunningham, Klein/Mahler Technique, contemporary, Alexander, Feldenkrais, Anna Halprin's whole body of work, massage therapy, Body Weather (mostly from Sherwood Chen, but also from Min Tanaka and Oguri), West African dance, Hungarian folk dance at a few táncház, Judo, Kalaripayat, Vipassana meditation ... 
Where to go from here? we'll see.

How did your summer time go? Did you get any new inspirations? Do you have a best experience during this summer?
10-day Vipassana meditation course. 

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense?
Of course - other countries, even other cities within the same country, or different neighborhoods within the same city, or even the same people on a different occasion or in a different venue. 
What I'm getting at is that each performance is slightly different because I'm different, the audience is different, the day is different, etc. As far as a whole other county goes, I can't say that I'd pay too much attention to that; there are just too many factors to consider that it becomes immaterial. What's important is to perform a piece with integrity for whoever is there with you.

What does it mean to you to be in the process and to show the work to the audience? What kind of feedback are you open for?
In process means that the piece is not really finished. Finished would mean that I am satisfied with the structure and execution of a piece, enough to show it to a wider audience.

Do you read critics about your works? What kind of critic do you need?
If someone says they loved it I get very little; same for if they say they hated it. I'm interested in three things:

1. what did you see?
2. what did you feel? or: how did it make you feel?
3. what kind of associations did you make (ie: what images came to mind?)

These are the most helpful to get a sense of what's actually coming through from here to there.

Do you criticize other’s works? Do you write about it?
Not publicly.

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

Here you find some words, could you put them in sentences which could be kind of ars poetic of yours!
COMMUNITY, GETTING CLOSER, EXCHANGE, FILLED IN, RELIGION, NATION, HOMAGE, HUG, PERFORM, POPULAR, ORGANIC FOOD, SENSE, QUALITY, SHARE, FACE
PERFORM GETTING CLOSER to ORGANIC FOOD, a new RELIGION of SENSE and QUALITY in the FACE of NATIONalism. EXCHANGE COMMUNITY for a HUG. SHARE.

Do you have any question?
Nope :)