SUMMARY

Born in Budapest, Pál Frenák’s childhood was marked by the fact that his parents were deaf and hard of hearing, so the first means of expression he learned was sign language, which made him especially sensitive to facial expressions and gestures. In the mid-1980s he moved to Paris, where he worked with several leading figures in classical ballet and studied the dance technique of Cunningham and Limón. Among the sister arts, he was greatly influenced by the films of Pier Paolo Pasolini, the paintings of Francis Bacon and the writings of French philosopher Gilles Deleuze. In 1998, he spent more than six months in Japan – an experience that had a profound impact on his art. In 1999, enrolling young Hungarian dancers, he transformed the by then ten-year-old Compagnie Pal Frenak into a Hungarian-French company, which was based in Paris and Budapest and instigated a unique dance idiom. The important features of the latter are the integrated use of facial expressions, sign language and body movement, and the incorporation of the sister arts (circus, theatre, fashion show, contemporary music).

The 40th year of FrenÁk’s career is a good occasion to revisit and recall iconic elements of his oeuvre. He thinks in terms of associative interpretability, rather than some narrative: detached from concrete formulations and stories, he communicates by acting on the current feelings of today’s man. He adheres to the strategy of asking questions, wandering in the labyrinth of human relationships, probing this time the secrets that make the essence of a man, or more broadly, of man, through a mysterious figure. As a dominant element of the production’s stage design, FrenÁk relies on an exciting platform, the conceptual basis of which is the rectangular element familiar from his previous works, which for the first time is set in motion in its entirety and creates a new spatial form, a sense of floating. Rotating very slowly, this element of the stage presents the sight differently from every viewpoint. Thus, this part of the set in turn divides, separates and unites – it is a space in space. The vortex-like movement evokes the spiral, the most important inspirational motif of his art.

Central to FrenÁk’s present concept is the figure of a man who is passionate, purposeful, stubborn, (almost) indestructible, knows no obstacles, and is capable of everything to fulfil his desires, even at the cost of his own death. The emphasis on the reckless determination of the male protagonist allows us to see the role of the victim voluntarily undertaken and the attendant state of mind. The man who recognises and accepts his desires, completely disregards the circumstances and the dangers, giving himself up to the hope of pleasure and becoming a victim of himself and his “seducer.” In fact, he is driven by an inner force of necessity; his secret is his alone, but the sense of mystery that hovers around him can touch anyone.

2023. március 25., 26. BOZSIK YVETTE TÁRSULAT:

Var Zscirkusz

TÁNCJÁTÉK GYEREKEKNEK –MOZART A VARÁZSFUVOLA CÍMŰ OPERÁJA ALAPJÁN

Rendező-koreográfus: Bozsik Yvette

2023. április 4., Zeneakadémia

BARTÓK TAVASZ

EREDICS BENJAMIN:

VÉGVÁRAK, VITÉZEK BEMUTATÓ

Narrátor: Hegedűs D. Géza

Vezényel: Ménesi Gergely

Rendező: Vecsei H. Miklós

2023. április 5., Magyar Zene Háza

BARTÓK TAVASZ

Nik B Rtsch

Eflecting Bart K

Közreműködik: Várallyay Petra, Krulik Eszter – hegedű, Jobbágy Andor – brácsa, Zétényi Tamás – cselló, Palojtay János – cseleszta, Janca Dániel – ütőhangszerek

2023. április 9.

BARTÓK TAVASZ

MAGYAR ÁLLAMI NÉPI EGYÜTTES: KIVIRÁGZOTT KERESZTFÁJA TÁNCJÁTÉK HÚSVÉT ÜNNEPÉRE

Koreográfus, rendező: Mihályi Gábor

Tavasz A K Tked Szellem Hollerung G Bor S A Budafoki Dohn Nyi Zenekar

BARTÓK

Közreműködik: Ónodi Eszter – próza, Budafoki Dohnányi Zenekar, Nyíregyházi Cantemus Kórus (karigazgató: Szabó Soma), Pro Musica Leánykar (karigazgató: Szabó Dénes)

Vezényel: Hollerung Gábor

Házigazda: Lukács Sándor

BARTÓK TAVASZ

CSENGERY DÁNIEL: HOLLE ANYÓ

Koreográfus: Barta Dóra

Rendező: Szemenyei János