Summary

This time we deal with performances in which music plays a significant role – as the main topic or the foremost structural principle.
In the first section we offer an analysis of a dance performance inspired by Mozart’s The Magic Flute and conceived by an outstanding Hungarian dancer and choreographer, Yvette Bozsik. Her performances might be divided in two main categories: the psychological ones and those which are reflections to some dance traditions. The Magic Flute is part of the second one, though this time the topic is given by the most popular opera and not a standard choreography.

In the second section we offer reviews on performances focussing on the dialogue between dance and music: Ágens is the composer and performer of her show entitled ’plastic–fantastic–bombastic’; the Artus group led by Gábor Goda had a new premiere entitled Stele; the Szabó Réka Company produced the Séance. We also write about the Passage evening in the MU Theatre with performances by Mariann Gaál and Kitty Fejes.
In the third section we write about theatre performances inspired from classical plays and tackling with music. Gábor Rusznyák in the theatre from Kaposvár put on stage The Three Sisters which kept the structure of the original play, but music plays an essential role in it. In the “Katona József” theatre Viktor Bodó adapted Molière’s Don Juan with the title The Great Sganarelle and Co.
Michael Thalheimer is the topic of our fourth section, the German stage director, who is considered the master of the minimalist theatre and dramaturgy.
In our critical section we focus on some performances by Viktor Bodó and Gábor Rusznyák produced outside the official theatre structure and two dance performances: Pál Frenák’s new premiere entitled Tra-ce and Jozef Nadj’s Eden which was invited to Budapest. A special curiosity of the latter was that the dancer-choreographer broke his leg; thus Csaba Horváth substituted him, who is an exceptional Hungarian artist.
08. 08. 7. | Nyomtatás |