Zoltán Vakulya & Jessica Simet performing Mirage

[A Hodworks review by Zsuzsanna Komjáthy] There is an obvious connection between movement and voice, and as it is said in certain eastern cultures, it might be breathing. Both movement and speech begins and then returns there, to that tiny air gap in-between, what binds and interrupts the activities of body and mind. Breathing can be conceived as silence, or as an atemporal emptiness that unconsciously connects and then deviates the curvature of movements and voices. It isn’t a coincidence that breathing has always been in…Continue Reading “Assemble in différance; Mirage Hodworks review”

Emese Cuhorka performing Solos (Hodworks)

A Hodworks review by Dorottya Albert „Snout-to-belly-to-bowel”, in a word called rasaesthetics is a term used by Richard Schechner to describe a floating, multi-layered sensorial experience. It emerges from the body, and relies on the processes of tasting, digesting, and finally, excretion. Simply saying, it is the place of mixing, pervading between inside and outside, absorbing intimacy and distance at the same time. No wonder, Solos by Hodworks incorporates this wide variety of bodily and emotional sensations through a diverse series of solos performed by three…Continue Reading “Snout-to-belly-to-bowel; Hodworks Solos Review”

Adrienn Hód (Hodworks)

Stage action and the position of spectators. In every performance, I pay particular attention to find the setting, in which the performance works best. This is always a decisive part of the pieces, developed through a delicate sensory process and lots of fine-tuning. In Solos, I returned to the form I already used in Dawn by seating the audience around the play area; however, it was a significant step to let the spectators sit in the light as well. To be more precise: spectators and…Continue Reading “Adrienn Hód (Hodworks)”