As soon as I saw who knows where the Bühne sign is on the door, I have a fever: I haven’t seen a theater or theater in months. And so are the artists at Recirquel, even though they were trying their hand at times of the pandemic. It is said that a dancer cannot stop for a day, which is doubly true for an artist. Deformations occur in their bodies, which are eliminated by cutting off continuous training, but these distortions are essential for the body to perceive numbers and special movements that require incredible fitness.
Of course, in spirit terms, it’s clear that coaching by doing it only for ourselves and the Four Walls differs by reopening the season at the most prestigious arts center in the area, the Festspielhaus in Sankt Pölten.
So let’s open this black door called Bühne and go through it to Hell, to Heaven, where things happen: to theater, to theater.
I try to drag humbly to the front scenes. It’s quiet, it’s amazing that I don’t falter. I still bothered the dancers, especially Chila Whitman, with her jump. I have to step aside there, because jumping requires such concentration that there is no unusual phenomenon, a person, any annoying mirage can be in the field of view. Success still depends on seconds and centimeters: whether two boys can jump from their hands together, then reach and cling to new hands, and finally the same with a classmate at once, from here to here and there. It is a nice.
But I look at everything from the front, from the front row of the auditorium, and also the way an artist requests the skylight, which of course is not a theater but a company employee to take a little bit of the back row light because it bothers the eyes. The transformation also travels with eleven Recirquel artists and dancers, the production requires special settings and expertise that no light lock, belt, or rope can be left to anyone else or to chance.
Galero: Recyclekle; the lovePhoto: Palent Hurling / Racquel
The pyramid test is followed, on three levels, by one artist at the top, ending on one leg on the shoulder of the artist below. And then, I only get a few moments from the final rehearsal, because Pence Fagee, the company’s leader, choreographer and director, comes to try to put theater events into words.
This is the hardest. When we started working with composer Edina Squirrel Szirtes. Now at least that was, in the case of Solus Amor, how can we talk about love. She is with music and I am with dance. We came up with creating a love block by preserving the elements of the musical block. There are elements here, too, that tell us how spirits come from the universe and what will happen to them here in earthly existence. The music adapts organically to this. On the one hand there is the violin. On the one hand, world music, since this entire topic is global, affects us all. Third, we wanted to reach out to our Hungarians, to refer to him in one way or another. There is also a Balkan streak throughout, which is what defines squirrel music.
Bence Vági is proud of nothing less than the brand new genre, and it is Circus dance Create and translate its kind. Contemporary artists and dancers need all the arsenal to create this kind of endlessly astounding acrobatic elements while being marvelous with their artistry, but beyond the exclusivity and grandeur of movements, to breathe stunning figures into dance. It is a physical embodiment of soul and spirit, as we try to get close to ourselves.
But in the case of Recirquel, this is no longer an experience, it is the kind that has found itself, and it is unique not only in our country, but also in the world. Where we come from, where we are, who we are, how we find each other, how we deal with our environment, and ultimately what we become is a matter of thirst everywhere in the world. And this research, this response, has also been carried by the company to Germany, Austria, England, Israel, France, or even New York, where the audience stands applauding and the written criticism appears in the New York Times.
They live by their bodies, they take care of them
Pence has not danced in over a decade due to his injury. However, he found himself, his way here after Liverpool Institute of Dramatic Art, Belgium and some Hungarian companies, founder of Recirquel, which took off after production of Island 2012. He even got his name from the name he suddenly wrote there, and then stuck with it. Since then, many shows have been set up within this new circus genre, and their permanent stadium instantly became MÜPA, and they might know something,
If they were the second most touring company in Hungary after the Orchestra Festival.
On normal times, they have about a hundred shows a year, and as Communications Director Natalia Fabex, who provides us with the backstage, says tickets for one of the productions, Crystal, were sold out even before a voice came out of it. It’s really something that, as it turns out, a poster has been created that can bring anything new, and we know we’re not going to be disappointed by that.
Pence speaks with great enthusiasm about the team, and when I ask him does he sometimes envy those who, despite their interpretation of the choreography, on stage, he says, at all:
I could not even imagine the greater joy that they realized what I was dreaming of.
Zita Horváth, one of the dancers in the company, who simultaneously learned many of the elements of art, speaks in superlatives – she is one of the most prominent figures in today’s contemporary dance scene – I can’t help but visit her in the locker room after talking about the hall .. he jumps in the air .
Zeta is 33 years old and has already danced with Padura in Iger. I ask how long this can be done. How long can the maximum pressure of the body. Much depends on genetics and it does not say age because it cannot be determined exactly. Zita is interested in nutrition, regardless of dance. She lives from her body, works from it, and has to take care of it. He was learned, like everyone else, by Erzsébet Ócsai, Böbe, master of the artist, since he came from the world of contemporary dance, he learned the aerodynamic and acrobatic elements with the company.
Böbe is also here in the locker room, he is the one who tells artists during rehearsals what to do best, what to look for, and directs the movements from the background of the stage. Bob himself was an artist, as were his parents, and his brother had the acrobatic figure of a famous mogul Ramy. Respectively, he was Deputy Director in Artist Training and Professor and Mentor for several artists.
For example, Renátó Illés, who is no longer just a choreographer for Solus Amor, but also a choreographer for the airy parts, is now doubly excited as she missed her leg break at the fall premiere. The highly complex napkin production he is preparing is his single most difficult business yet.
I always dance from the soul, but now I have to push this a little behind this figure, because the practical implementation of production requires such focus – anything can happen with matter, and anything serious – I must focus on it now.
Renato is proud to say that he was the coach who attended three majors simultaneously, namely Handstand, Tesso and Runrad, also known as the Germanic Wheel. The latter is a kind of Ferris wheel, it is about the exercises that are performed in it. So he is an artist who strengthens himself on the dance line, for example helped by Zeta, or among the boys Gábor Zsíros, with whom she also danced the previous hit piece Non Solus. (Artist, dancer. Two bodies meet, one soul).
I leave it alone I feel extremely ready to perform. Well, hours, the boys are actually doing a lot of makeup in the locker room, from now on they are no longer difficult to bother. I’m going to take another trip in the striking, holy Bolton rain, in a small Austrian town after all six are closed, but the life of the balcony and wine-making comes to life. I went back to the stage for a week, I want to smell it in the audience.
On stage a creature is born a creature
Merit is full of color. The spacious glass-framed foyer features elegant, sneaky and artistic styles, plus contemporary dance productions without a dress code, the point is everyone gives up. Those who arrive early will toast at the buffet tables, mostly with light white wines. This is familiar here, but there is also something to celebrate. The season, forced into late spring, opens at a prestigious regional art center known for its progressive music and dance productions. Solus Cupid is a good start.
The hall is also like it’s dressed up as a costume, every third of the black beige striped chairs are wrapped in a black veil, these are the missing epidemiological chairs, and of course we’re all in masks. (My Covid test has also been thoroughly checked upon entry.) The tactile excitement and growl is also clearly for hunger, but despite the dental chairs, we have a full home experience.
It starts with a love block, with something very special, really doesn’t like the block or the props, we have some kind of starting experience. The piece begins immediately with a cool, expressive song, then after beautiful lyrical drums and percussionists take over the field, there is actually a jumping segment where the girls swing, throw, twist in the air, and we’ve seen a rehearsal. two hours ago.
Then an animal enters, we can call it a polar bear, or even a dinosaur, whatever. It is mythical symbolizing animals and nature, perhaps a creature of the human soul, led by dancers from within. A small and small miracle appears from the primitive being, the animal character of Solus Amor, who was not by chance to replace the number of animals in the circus repertoire. This animal (and the grandfather who generates it) appears several times in the play, and plays various roles, as it struggles and befriends humans, but it is definitely organic through the performance and the human and cosmic encounter.
Each movement is a separate entity, giving different soloists an opportunity to express themselves. Among the most beautiful images are the rope dance, the Balkan-inspired music touching the soul, the balance of the dancer and her beautiful self-stretching dance with the men dancing on the ground below, alluding to the isolation of the fighting artist. For her at every step, and her connection to Heaven besides that, you can count on your friends dancing on Earth, he is in the community. The choreography, which simultaneously expresses the artist’s unity and community, is also beautiful as a vision, with many at the bottom and one on the rope above. The instrumental music becomes loud here, and the singing and singing voice helps the artist do the tedious task above all else. Then comes a wonderful double, this time on a rope inclined from a height, with a singing piano background, at the end of which the woman jumps off the rope and the man catches her. It is the dance of passion and confidence. Sometimes the members of the duo form an image on the rope as if they have one and the other wing of a bird.
Galero: Recyclekle; the lovePhoto: Tamás Réthey-Prikkel / Recirquel
Guys come, and they look for a place in various solo roles in fighting with the animal, in life, then Renato’s solo napkins, which I actually watch so I also look forward to well wrapping, in the right places, in abundant curtain-like material, which will help you unravel the amazing scenery of During its opening it made several turns, sometimes swinging horizontally in space. Can’t be spoiled here.
By the end of the piece, we get a complete build story, we get out of some kind of magma, and we get back there, and the tensions are eased, and a kind of elevated state of calm begins.
Although the cirque danse genre is intersecting, a true connection to the arts, along with music, there is something inexplicable, as comes a layer of mystery and spirit that can be deciphered in another way, which at the same time provides a spiritual experience and a spiritual kind of union With the world and ourselves.
(Cover photo: Hirling Bálint / Recirquel)
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