Márta Ladjánszki: Two
Jaro Viňarský & Tomáš Krivošík: Inner laws
Edit Dékány: The Half of Everything is Nothing; And You?

Márta Ladjánszki: Two

Hungary

choreography: Márta Ladjánszki
dancers: Márta Ladjánszki, Eszter Rácz
lighting design: Richárd Németh

"Márta Ladjánszki excelled not only with her embarrassingly curious and incitingly brave choreography but also with the perfection of her performance… She is one of the few dancers in Hungary who can use her body in an individual way. She does not tell a thought, a story, a feeling or a rite but tells the body itself. Two is a body-story, more precisely the story of an identity, which is also a story of the body in this case… She appears on the stage in a full-length dress with her face covered, just like a blind, deaf alabaster statue with no sense of the outer world. A white-skinned, full Baroque female figure, she is a statue in creation and the sculptor at the same time…"
          This choreographer inspired our Hungarian dance writer colleagues to these passionate words, which we are happy to share with you:
          "…The audience was shocked the other day by Márta Ladjánszki's breast dance…"
          "…Márta Ladjánszki, with the full figure of an Arabic belly dancer takes her clothes off slowly, 'shedding her snake skin'. She confesses her anguish with the - first erotic, then lewd - movements of her breast. All that had been ethereal turns to raw sensousness…"
          "…Two starts with a sudden upbeat: two powerful slaps on the dancer's face… In the middle of the performance Ladjánszki, half naked, slips into the curious dimensions of corporality with angry and sad gestures; we see virginal innocence in the woman wringing her own breast…"

Márta Ladjánszki - dancer and choreographer; studied ballet, gymnastics, jazz, and modern dance in Hungary and in Vienna. She founded KOMPmÁNIA contemporary dance theatre with Attila Csabai in late 1996, and has worked there as dancer and co-creator since then. She has worked with several choreographers and dancers in Hungary, such as Gyuly Bergera, Katalin Juhász, Katalin Balla, and Réky Szabó. She also works with the Hungarian Music Ensemble on improvisational dance concerts, inspired by the performance space or by museum artworks. In 2000 she won the Solo Festival first prize in Budapest for her piece One, and an invitation to the Inspiration 2000 young choreographers meeting in the Trafo House of Contemporary Arts. Ladjánszki's works are focused on the body and its physical limits.

Márta Ladjánszki, Futórózsa u. 65.IV.4., 1165 Budapest, Hungary, marta.l@freestart.hu

Jaro Viňarský & Tomáš Krivošík: Inner laws

Slovakia

concept, choreography, lighting and stage design, costumes: Jaro Viňarský, Tomáš Krivošík
dancers: Tomáš a Jaro
music: Michaela Dietl

Forbidden touches, sinful kisses, strange looks… This short story of a gay relationship takes place somewhere in the middle ground between childhood and adolescence (symbolized by dance floor being rolled out only halfway). An ineffective yet clean dance, at times self-ironic, telling the story of touches and missed touches, of coming together and mistaken blunders. What is unusual is the way it speaks of these experiences from a very young age, which so far we know only from novels. This is all the more interesting for the remarkable appearance of one of the performers. Dancer Jaroslav Viňarský has a very gentle, almost child-like body, child-like in innocence, sensitive, intelligent and articulate. His precocious "Dostoyevsky-like" head seems not to suit his body at all. The erotic game between this precocious child and the handsome Tomáš Krivošík yields unexpected emotional reversals. Quite apart from its trip into the woods of taboo, the piece surprises us with its discipline. The choice of music is a good move; it is physiological music, it does not fight with the body and at the same time, it allows the dancers some ironic distance from threatening floods of emotion. A choreographic stone from Proust's mosaic.

Jaro Viňarský is currently a student of the HAMU dance academy in Prague. While his CV on paper isn't very long yet, his inner CV has bigger, magical dimensions. We quote from his emotional biography Search for the White Eagle: "During a shaman meeting which I took part in with five other people, we flew into spheres 'outside of reality' and became a royal theatre company. The spirits requested that we play a theatre performance at an exact place, it was up to us on what day and at what time.The idea of the performance was helping the cosmos. It took place on the 12th of July, 2001 at the chosen castle… A story finally developed at the third and last rehearsal - about a search for the white eagle."

Tomáš Krivošík after graduating from dance conservatory and other professional training, he began studying choreography at the HAMU dance academy in Prague. In the year 2000 he won third prize in the Jarmila Jeřábková competition for young choreographers. His work Inner Laws was presented the following year at an evening for the prize winners. Alongside his studies, he works as an independent dancer and choreographer and collaborates with outstanding contemporary composer Vladimir Franz.

Jaro Viňarský, Nad Lukami 7, 130 00 Prague 3, Czech Republic, krivos@szm.sk, jaro.sorton@szm.sk

Edit Dékány: The Half of Everything is Nothing; And You?

Hungary

choreography: Edit Dékány
dance: Edit Dékány

Edit Dékány - began to study standard dance and Latin dance in 1992, and was soon among the top dancers at competitions. In 1998 she began to study at the National Theatre Academy, and the next year she continued studying at the Budapest Dance School. She has been a member of the AD HOC Theatre since 1996, where she works as actor and choreographer, but also does stage and costume design. Her first choreography, called The Pillows' Dream (2002) was performed in the renowned Budapest Trafó space. The next year she created The Half of Everything is Nothing. Later she worked as a dancer with Féjés and Joel Borges in Paris. Her newest work, Painter's Dream has already been performed in Lisbon and Paris and will soon be performed in the Trafó in Budapest and in Montenegro.

The first words of Edit Dékány's biography are: "I was born in 1979 in Budapest". This means she is the youngest participant of our showcase of Central European dance. She is one of the "newest" of the promising Hungarian choreographers, as referred to in the Hungarian press - "The New, the Newer and Even the Newest - Night of the Young Choreographers" proclaims one of the headlines. Yet Prague audiences have already seen her perform - at the last Tanec Praha festival, in the new Ponec Theatre just as the paint was drying. There she performed as a dancer a performance called Image by choreographer Ádám Fejes. That performance was presented as a work-in-progress, introducing Edit Dékány not only as an engaging dancer, but as creator of one of the evening's dance sequences.
          Photographs of her performances show contrasting colours darkly shining, a green and red jungle of projected light, the dancers in the middle like some kind of mirage. Her work The Half of Everything is Nothing has been described in the Hungarian press as a "Satanic duet without a partner"...

Edit Dékány, Mády u. 211, 1108 Budapest, Hungary, dekanyedit@yahoo.com