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THEALTER 2009 / July 25, Saturday

 

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Pál Frenák Company: Trace & Mennono

25. Saturday 18:00     Chamber Theatre

60'

Trace is the result of a joint creative work by the choreographer, the performer, the composer and the video artist, and represents four separate but not entirely unconnected conditions of the human self. These four aspects – the instinctive one, the self-reflexive ironic one, the one in trance, and the conscious ego – ceaselessly search for their identity, at times completely absorbed in their role, at other times testing their boundaries and transgressing their frames. Through a grotesque way of representation, the choreographer makes the torments of the search for self-identity seem light and playful.
The four square-shaped plateaus that form the space symbolize the four independent but inextricably intertwined aspects of identity. The blue light cast on the plateau creates the illusion of a swimming pool. The dancer’s costume – frog legs, swimming goggles – completes this image.

After many grand-scale and visually shocking performances, this time Frenák has created a restrained, almost minimalist universe, focussing on intimate, inward-looking spirituality. This performance appeals to a wide public, since its sensitive means of expression reflect a lived reality, which can enrich and move the imagination of younger viewers as well.

danced by: Kristóf Várnagy
video: Viktor Nemes
light: Tommy Trzaskus
music: Fabrice Planquette
scenary, costume, choreography: Pál Frenák

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In Pál Frenák’s choreography we dive into a mysterious, blue universe. The dancer comes to life from statue-like stiff postures in this performance that draws on the art of movement peculiar to Butoh. The gestures unfold in an almost imperceptible way, projecting onto each other the means of expression used by the dancer and the sign language of the deaf and dumb.
Dance and architecture become fused again and again. Drawing inspiration from the visual arts, Frenák creates and abstract, organic languages, reacting as it were to Yves Klein’s anthropometry and Sam Francis’s Blue Balls.
The force of attraction emanating from the blue surroundings and the train of the fabric that envelops him become an extension of the dancer’s own being and thus invest him with a power to accept the boundedness of his own body. As energy flows incessantly through this statue of constancy, it tremblingly liberates his soul.

His sensibility opens up a space, addresses us, impels us towards re-evaluation, and imbues our own being. The gestures and movements convey the ideas with an explosive force. The paintbrush of the body is filled with blue, where the costume holds it together as a skin at times, but also flows like paint amidst the curious gaze of the people.

performed by: Kristóf Várnagy
costume designer: Sarah Diprospero
music composed by: Fred Bigot
light: János Marton
choreographer: Pál Frenák

www.ciefrenak.hu


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