top of page


„Credo Hysterica” is an exact, bitter and sophisticated performance representing at the same time the power of beauty, the spiritual hunger of desire, and the bondage of femininity becoming a fate. Frenák – this time also – has created a choreography which comprises of very familiar but embarrassingly explicit elements of secret gestures. This is how the dynamic and amazing confession (their „Credo Hysterica” as the subtitle of the performance says) of the four dancers is born, and becomes in almost every motion and gesture a meaningful message.

As for its structure and motives „Credo Hysterica” can be linked to „The hidden man”; for example the parabola-like „bath” appearing in the last scene of „The hidden man” becomes a dominant and returning element in “Credo Hysterica”. There are 3+1 dancers in both performances, as if three dancers represented three different aspects of the same reality, while the fourth one is playing a different role and wearing a different costume.

In this performance, Pál Frenák again deliberately and consistently neglects all kind of narrativity and plainness. What we see on the stage does not communicate any position, even less make any judgment or conclusion; its struggle for the accurate representation and the radicalism of honesty gives a cathartic confession of women, of man.

Premier: 20.05.2004.


In Credo Hysterica the uncontrollable body this time assumes a female form. We can see on the stage the metamorphoses of four women from sexual objects into birth giving machines, aesthetic objects or innocent bodies. Credo Hsyterica is the second part in Pál Frenák’s 2004 project of three interconnected pieces. The trilogy – similarly to other Frenák works – attempts to alienate our unreflective notions about male and female identity. By doing this it also seeks to subvert the concepts of the male and the female.

Márton Tábori

Nők Lapja Café


There was everything that is typical of the celebrated Frenák productions: the excellent, perfectly coached dancers, the spectacular and dynamic compositions, the sensuous body-sculptures, the expressive tableaux vivants, the simple but elegant set, the props with multiple meanings, the lighting rich in tone and opening newer and newer dimensions.

László Stark R.

Magyar Hírlap



Cécile Feza Bushidi, Lisa Kostur, Kata Juhász, Viktória Kolozsi



Fabrice Planquette, Attila Gergely


János Marton

Choreography and concept

Pal Frenak

bottom of page