FIÚK - BOYS
FrenÁk’s perpetual piece – which is the mixture of contemporary dance and acrobatic elements – discusses the essence of the social aspect of being man, and analyses it with ruthless honesty. The fragile balance between the characters reveals lust for power, weakness, narcissism, competitiveness, and humiliation. The stereotypical articulation of masculinity and femininity reflects the constructed social order.
He probes male sexuality through its different aspects: its origins, as well as its subconscious sources. With his aerial choreography, he opens the door of the cage and lets the beasts of our subconscious roam free. Using dark humour, sharp irony and aggression as tools, BOYS illustrates the emotional flatness and the cliché that rule the relationships of the modern man.
FrenÁk’s choreography shows cinematographic, almost theatrical dimensions in its conception: it is the expression of his intuitive knowledge of human functions. The rope is a body part, shelter, gallows, life and death, up and down…
The BOYS has a direct connection to the deeper layers of our subconscious, but it can be viewed as a cruel case study on modern society. The BOYS makes us laugh, but it is also a horrifying, yet captivating piece on men and boys.
The performance is not recommended for audiences under the age of 18.
Viktor Frányó, Eoin Mac Donncha, Milán Maurer, Anibal dos Santos, Máté Váth
Choreography and concept
The trio of ropes hanging down into the playing area opens up a vertical dimension: they free us from our earth-bound existence and show the way to an unattainable reality. The men are doing their best to get to the top; they drag themselves upwards, they lounge and soar once they think they are high enough; it is all about the timeless human dream.
Feminine and masculine at the same time, its courage is to be envied, but also childishly shy, and radiates enormous energy, however, extremely vulnerable as well. Gorgeous bodies and chiselled scenes. BOYS is not outdated, it’s youthful, fresh, energetic, and relevant. And it’s a huge success.
I can’t help being amazed and surprised by the choreographies of Pál Frenák, who has been building his work consistently on eroticism and the use of body, and has
been exploring how the body can become an icon immediately. The social background is always just a concept, there is no propaganda, just pure dance, the aggressive, explosive, colliding, daring kind.
Szilvia Artner 'Sisso'