A movement-laboratory theatre experiment researching the body’s aspect.
Only solos for seven female bodies.

‘Taking for granted that form has a soul and spirit can be recognized in the visions of the body...’

‘The dancer's (actor's) body talks to itself, but it does not whisper, as one would suppose, nor does it yell what is being dictated by mere physiology. The body introduces norms and soothes instincts so that abilities can get through to the foreground. Since ability is the instinct having been dignified by intelligence; intelligence that is live, fertile and only presented by its own gestures; intelligence that permanently endeavours to give an intelligible, perhaps universal expression to the momentary virtues of flesh. The body, pervaded by intelligence, perambulates the “spirits” of a work of art and awakens them for a while from the lethargy of their lost body-ness.’
(Mihai Maniutiu)

’The body is made to find its way back to its prehistoric form.’

Krisztián Gergye, balancing between physical theatre and dance, has persistently been exploring body. This time he favours female bodies above self-analysis as the object of observation. The performance B.O.D.Y. can be characterized by the dualities of lusciousness and devastation, intimacy and estrangement.

performers, dancers: Blaskó Borbála, Domokos Flóra, Fodor Katalin, Gresó Nikoletta, Hargitai Mariann, Négyesi Móni, Virág Melinda

music: Alfred Schnittke
light: Payer Ferenc
costume: Béres Móni
make-up, hair, mask, body painting: Károlyi Balázs
production assistant: Trifonov Dóra
light design, musical edition, choreography, direction: Gergye Krisztián

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