160528_un_boczkotamas_HR_20160528_192843

UN

'Each animal has its own universe. This is so interesting and bizarre, because so many humans do not have their own universes and they live a life just like anybody else. Not the animals. They have their own, authentic universes!'

(Gilles Deleuze, French philosopher)

How can someone have a world, a universe? How does our life become really authentic, our own? According to Deleuze, the key is heightened sensitivity and immediate action. The piece UN, with its two solo characters, refers to Debussy's and Nijinsky's emblematic Faun, the hybrid creature between animal and human, and even more so to Deleuze's concept of universe, as well as to un, the French word for one, which emphasizes that the variations of a single character is the focus of the choreography. Through abstract movements in a suspended net, with powerful contemporary electronic music and monochrome colors, the choreography, performed by Milán Maurer, an amazing, young talent at his early twenties, and the 60-year-old choreographer himself, Pál Frenák, speaks of a new balance achieved over time, and creates a special, ageless fusion – referring to the title: unity – of masculine and feminine, old and young, animal and human.

No doubts: Pál Frenák keeps being an outstanding reference point in the Hungarian and international performing art scene. Un refers to one in French and Frenák is standing for this kind of "one" - unity of two human beings, unity of then and now, unity of cultural backgrounds and regions, fusion of different forms of art - in an abstract way. The core of his complex, always recognizable theatrical language is the crystalized structure of his outstanding movement material that requires the highest technical standards from his dancers. Pál Frenák trusts dance and trusts the power of movements.

Csaba Kutszegi

Tánckritika.hu

Frenák doesn’t give us a detailed answer, but he shows us very direct positions instead. The set is very limited as the stage is almost completely empty; the unique net is the only ever present scenographical element, however, in this minimalism, an enormous range of the possible interpretations unveils itself.

Borbala Kintli

Apokrif

Contemporary dance. The most beautiful, brutal and fascinating of its kind. This is Pál Frenák’s universe. And now, we can get real close to it. Close to Milán Maurer and this young dancer’s impressive energy and strength. It almost blows us away from the first row as he technically leaps into the air from our side, and flies straight to the net. And of course, we can get close to the master, Pál Frenák, to his ageless face, painted white, his flickering butoh moves, and real close to his terrifying – in the most positive sense of the word – presence...

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