Presentation of International Dance Academies
In the frame of Beyond School programme, which is part of the international project Beyond Front@: Bridging Periphery, three academies will present their annual productions at the Old Power Station: Magyar Táncművészeti Egyetem from Budapest, the Academy of Dramatic Art of the University of Zagreb, and Akademia Sztuk Teatralnych from Krakow.
Performances will be presented one after another, with 15 minute breaks in between.
Before the performances, representatives of the academies will be available in the lobby of the Old Power Station to provide information on study options and the program orientations of their academies.
Magyar Táncművészeti Egyetem – Hungarian Dance University:
WHAT IF…
The choreography shows the diversity of human relationships and the dynamics of the forces at work in them. The interconnections between the individual and the community, the ups and downs of relationships, the attraction and repulsion, the often constructive and often destructive effects of different human games.
The choreography is the result of the joint work of the coaching masters and the students.
Hungarian Dance University coaching masters: Gabriella Kézér, Virág Sóthy
Hungarian Dance University students: Panna Pozsony, Viktor Kéri, Eszter Anita Kis, Janka Kőműves, Bianka Varga
The Hungarian Dance University (HDU) is Hungary’s leading dance education institution. It was established in 1950 and is located in Budapest. HDU offers programs like Dance Artist (with specializations in classical ballet, modern dance, folk dance, stage dance) and Dancer and Coach (with specializations in commercial dance, ballroom dance, classical ballet, modern dance, folk dance, stage dance). Along with dancer trainings, HDU also has Choreography and Dance Teacher training programs, with specializations in folk dance, ballroom dance, modern dance, classical ballet, commercial dance, and dance history.
Academy of Dramatic Art of the University of Zagreb
Exam for the course Performance Workshop 1, Contempoprary Dance Department, ADU Zagreb
CLOSE
is what we almost always are: close to happiness, close to one another, close to leaving, close to tears, close to God, close to losing faith, close to being done, close to saying something, or close to success, and even, with the greatest sense of satisfaction, close to giving the whole thing up.
Our human essence lies not in arrival, but in being almost there, we are creatures who are on the way, our journey a series of impending anticipated arrivals. We live by unconsciously measuring the inverse distances of our proximity: an intimacy calibrated by the vulnerability we feel in giving up our sense of separation.
David Whyte, from CONSOLATIONS: The SOLACE, NOURISHMENT and UNDERLYING MEANING of EVERYDAY WORDS
Author and choreographer: Charlie Brittain in collaboration with the performers
Performed by first-year undergraduate students of ADU Contemporary Dance Department:
Nina Baburić, Tara Breški, Iman Kapetanović, Mark Marić, Jana Malčić, Noa Pavlinović, Larisa Radanec, Iva Stanisavljević, Klara Zrilić
Music selection:
Netta Perseus-Lankum, Thomas Köner-Nuuk (Air), Teimo, Serac, Cyril Tawney-Grey Funnel Line, Bach – Andante from Concerto in B Minor, BWV 979, Loscil – Dusk Gale, Forever
Music and sound editing: Miro Manojlović
Lighting design: Tomislav Božić
Poster design: Mark Marić, first-year undergraduate student of Contemporary Dance Department
Photographer: Mo Tadić, first-year undergraduate student of Cinematography Department
SMOKE
The piece Smoke was a final project for the subject Contemporary Dance Techniques held in the third year at the Faculty of Dance Theatre in Bytom, a course taught by Dr. Eryk Makohon.
The performance was the result of a semester’s work, in which our goal was to combine movement techniques with issues related to stage presence. We also paid great attention to operating on macro and micro scales, movement detail, and the idea of stylization.
In the performance, we also worked with the concepts of liminal states and elements of trance in managing stage energy.
One of the key elements of Eryk Makohon’s teaching method is stimulating the pre-expressive level of performers, referencing the theories of Eugenio Barba and the methods of Jerzy Grotowski.
The work realizes the assumptions of an impressionistic performance, aiming to evoke a strong connection with the audience.
The project Beyond Front@ – Bridging Periphery is co-financed by the European Union – Creative Europe Programme.
