I’m particularly looking for the necessity, the cross-compliance between thought and movement, trying to create situations, where nothing can happen without consequences.
I’m absorbed in the variances and interferences between the body without emotion and the thought without physical reality and their division, i.e. breaking up the natural, basic mind-body complexity. The body acting without controlling thoughts (the dynamic object) marks the starting point of my works.
When I am doing research for a new piece, I start out from my own personal issues, followed by the process of opening up the idea for a wider set of interpretations, to make the piece in shaping accessible and relatable for beholders. It is essential for me, that others should be able to resonate with the questions I raise with my performances. My desire is to create pieces, which may break through the limits of the stage and interact with the audience, and by getting under their skin, have a long-lasting impact on their mental and emotional state.
It is crucial in the creative working process to meet performers who would be the co-creators of the piece by sharing and adding their interpretation to the issues raised. All of my performances are the result of concentrated and intense collective creation, starting with long conversations unfolding our actual topic. The process of defining and re-defining helps us transpose our thoughts from the world of abstraction into the realm of physicality.
For me, creation is a process linking all my works, even if they are very diverse formally. My major interests are firm ever since I’ve started choreographing, only the methods change how I address these topics while I’m going deeper and deeper into research. For instance, I’ve started to let improvisation enter my works, which were formerly strongly composed. I may thank this new wave to the personalities of my co-creators, who are always important pillars of my work.
Polaroid by Zsuzsanna Komjáthy.