Repertoire / Playbill
or do dreams go to sleep during the day?
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My dear senses, you have let me down. You too, my one and only imagination. I keep tweaking my own portrait, over and over again, and I bend the contours of everything and everyone. But does this make it the world according to me, once and for all?
How does one look outside of here? And what if there’s nothing out there to look at? Is that just another thing that I project?
I want clothes to protect the outside world from me. For I have come to the conclusion that there are no miracles.
Nothing There is based on the coexistence of sophisticated interactive technologies and living bodies on stage. The real-time video technology employed by this piece reacts to the position in space of a body in motion, as well as its shape, direction, and dynamics of movement, transforming the gestures of the six dancers into the projection of their anxieties and fantasies, and their web of relations into a mobile abstract painting. The projected images and figures are equal partners to the dancers on stage, with whom they enter into a personal relationship.
The co production partners of the piece are Trafó House of Contemporary Arts Budapest and the Computer and Automation Research Institute of the Hungarian Academy of Sciences, which developed the special technique employed by the piece.
The original music score of Nothing There was written by Hungarian cellist and composer Albert Márkos, and is performed by renowned musicians and singers of the Hungarian experimental jazz scene.
The piece was performed to great acclaim as part of The Turning World international season at The Place (London), the National Theater in Prague, at Schauspiel Köln, Tanzlabor Bielefeld and at the Aura Dance Festival in Kaunas (Latvia). In 2010, it was awarded the Most Original Exploration of One Segment of Theatrical Language at the INFANT festival in Novi Sad.
“Performed to thudding jazz, the piece plays out a waking dream shot through with bizarre terrors. Half-glimpsed tableaux reminiscent of David Lynch’s film Eraserhead morph into surreal ballroom sequences in swimsuits and spats that pay homage to Pina Bausch. Vignettes of pain, fear and sadness swim dreamily against a lighting track of eye-popping strangeness. Extraordinary.” (Luke Jennings, The Guardian)
|Directed by:||Réka Szabó|
|Dancers:||Ákos Dózsa, Rita Góbi, Andrea Nagy, Dániel Szász, Zsófia Tamara Vadas, Csaba Varga|
|Interactive technology:||MTA SZTAKI Media Technology Group (Gábor Papp, Anita Sárosi, Viktor Vicsek)|
|Music:||composer: Albert Márkos, sound: Márton Németh, soprano: Orsolya Kozma, mezzosoprano: Veronika Harcsa, violoncello: Albert Márkos, piano: Péter Puskás, doublebass: Ernő Hock, drums: Hunor G. Szabó|
|Lights and space:||Attila Szirtes|
|Production executive:||Dóra Paizs|
|Special thanks:||Gideon Obarzanek|
|Supported by:||National Cultural Fund, Flórián Workshop, Artus, MU Theater, L1 Independent Dancers’ Partnership, Marland Kft.|
|Coproduction partners:||MTA SZTAKI, Trafó KMH|
Photo: Gábor Dusa