MENNONNO

MenNonNo is a mysterious blue universe. Frenak’s six-month-long journey through Japan inspired the choreography. In this performance the dancer comes to life from statue-like stiff postures that draws on the art of minimalist movement peculiar to Butoh. The gestures unfold in an imperceptible way, projecting onto each other the means of expression used by the dancer and the sign language of the deaf and mute. The large blue costume which first covers the space then envelops the dancer may remind the viewer of a huge mass of water, the sea or the ocean. The force emanating from the blue surrounding and the enveloping train of fabric also recalls plastic art personalities and creations such as Yves Klein’s Klein Blue or Sam Francis’ Blue Balls. The performance opens up sensibility, addresses us, impels us to reevaluate and imbues our own being. The gestures experienced convey the spatialized ideas with an explosive force. The paint-brush of the body is filled with blue, while the costume holds it together as a skin at times, but also flows like paint amidst the curious gaze of the people.

One of the most beautiful solo choreographies in the Hungarian dance history...

Adam Mestyan

Szinhaz

It is breathtaking from the very first moment: the sharp, clear silhouette of a half-covered body on the wall, wearing a swimming cap and glasses. Not grotesque, nor funny or dramatic - but astonishing and extremely impressive. Like an abstract butterfly-like creature captured by the glaring lights. Still: we don't have the impression of fragility. It's very powerful.

Katalin Lorinc

Criticai Lapok

On the stage of Pál Frenák, not only can you see the movement of legs, arms, face, eyes, but its the movement of the complex and beautiful machinery of the body - everything moves, the bones, the muscles, it's the choreography of flesh and blood - and this rugged harmony gives birth to an extraordinary composition that enthralls our mind and heart at the same time.

Lívia Fuchs

dance theorist