The tense theatrical pulsation of male and female roles, loneliness and togetherness, suffering and happiness, egoism and objectiveness call us to realize ourselves. InTimE does not need to offer solutions: representing the complexity of these human relationships is enough, it is so honest that the spectator cannot escape being touched by the performance.
There are six dancers on the stage. They sometimes motionlessly observe the other’s fight with a distance from the outside, while in other situations they take part in these battles. How can – if ever – one person become real to the other? Can the desire for each other remain unfulfilled forever?
Frenák’s haunting question is how much our life is entangled in the opportunism towards others and ourselves; how much lying and insincerity impact our relationship to our body. The emblematic red sofa is a choreographical boundary and the platform of fights, struggles and desires, and the place where we can face the unique loneliness of human beings.
'…and sometimes it is an island, a shelter to hide away to find some intimacy, to find a safe place to arrive and stay calm and relaxed. Yes, InTimE is physical, intense, pulsative and sometime seems to be provocative, but for me it talks about the fusion of people without limits, showing the human body and soul in its pure perfection is just a tool to create a deeper layer of meanings.'
Pál Frenák's reflections on the creation InTimE for Auditorium Magazine
Mature content, recommended for ages 18+
InTimE surprises us. Has an effect on us. It’s performed with elegance and gracefulness, with the harmony of proportion, which creates the impression of perfection. Eroticism is shamelessly wild, rough, classically noble and aristocratic on the stage of Pal Frenák. The audience is just amazed by the beauty of the human body transformed into a stunning piece of art.
Peter Molnar Gal
In this etude, every move of the choreography is an example for desire, will, and how long the body is capable of faking desire. (…) The noises, the fragments of sounds, the electronic music, and the cold, metallic, contoured lights magically turn these moments into a piece of fine art.
Every second will be special in light of decay. (…) There is no one else but Frenák, who could portray this horror so honestly with such heartbreaking tactfulness, but also with beauty.
Agnes Veronika Toth
Scenery and make-up
Péter Molnár, Gyorgy Zoltai