Virág Vida @ kultura.hu
2009. november 28.
I first met the Hungarian dancer and choreographer Pál Frenák several years ago, on a train. I learnt that he communicated with his parents as a child in sign language, and only later discovered the world of sound, then the world of movement. At the time we talked, Frenák was constantly redefining his art. Little has changed since.
INTERVIEW
You have come here with some sketch books and sketches. Do you always make drawings for your choreographies? Is it your way to plan your works?
I made these drawings months ago. They were continually developed during rehearsals, some of them I threw away, some I kept and others I reworked. You can imagine my libretto as a disassembled Rubik cube, with the different phases written down independently. After three or four months of work, we reached a point yesterday, when we could put together the Rubik cube for Seven. My drawings trace this continually changing process. The most exciting thing about it is that the elements can be put together in different variations. That's what really interests me. It characterises almost all of my pieces that the order of scenes is interchangeable. InTime could be started even from the end. Well, perhaps it would be even more exciting that way.
