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Incapacity | HowlRound Theatre Commons

Bíborka: Welcome to PUHA podcast, which stands for Performative Unity within the Hungarian Arts, produced for HowlRound Theatre Commons, a free and open platform for theatremakers worldwide. We’re your hosts, Zsófi and Bíborka.

Zsófi: Hello, it is a particular episode, specializing in incapacity in efficiency artwork. We recorded this session in Hungarian, so now we’re attempting to do it in English. So, we are going to translate what the members had been saying, and you’ll hear Bíborka and me talking what they stated in Hungarian.

Bíborka: Yeah. So you’ll hear the 2 of us quite a bit, as a result of we’ll do our greatest to let you know in English what occurred on this stunning and fruitful dialog about incapacity. So, let’s begin. I’ll translate every thing that the folks from the ArtMan Affiliation stated. That is principally a gaggle that bridges dance pedagogy and completely different skills. And, Zsófi?

Zsófi: And I’ll say what Ádám Fekete stated, who’s a dramaturg, playwright, and actor.

Bíborka: However you’ll hear their introductions in a second in English as effectively.

Ferenc Kálmán: So, my title is Ferenc Kálmán. I am the affiliate director of the ArtMan Affiliation. I am coming from a previous in dance, and really, I had been a dancer for some time. And at present, I work as a motion therapist at a middle for disabled kids.

Ádám Fekete: I am Ádám Fekete. I am a playwright, director, and an actor. I graduated as a dramaturg, and now I principally spend my time with directing. And just lately, there have been performances the place I dramatize my very own bodily experiences and the best way I relate to or the best way I care or not care about my physique. And I used to be born with an oxygen deficiency at beginning referred to as CP and likewise with a… I had a hip dysplasia and had surgical procedure two years in the past. So now, I haven’t got the dysplasia anymore. And I discussed that I additionally act, generally in my very own performs as effectively, and poetry can also be a extremely necessary a part of my work.

Kata Kopeczny: I am Kata Kopeczny. I am a member of ArtMan, and I additionally have interaction with the course—the operative issues—of the affiliation. I’m additionally coming from a dance background. I used to be skilled as a dancer, and I danced with the Szeged Modern Ballet for 13 years and likewise labored with different impartial artists and choreographers. I had an enormous burnout in my dance profession which brought on me to vary profession fully, and I assumed I might by no means truly need to work in dance once more.

Then I began to work with youth with dependancy and substance abuse. There was a place, they usually had been in search of a motion individual to work with these kids. And with enormous bravery, I accepted. However I quickly realized that I used to be truly missing the abilities that I wanted for the job. And it was at the moment that ArtMan began to supply a coaching, a one and a half 12 months coaching, and I joined. And on this coaching, I gained expertise about methodology—like pedagogical expertise—and experiences that I might use on this place straight away.

And speaking about bodily sensations that Ádám talked about, I truly had a number of fairly critical accidents due to my dance profession. I had decrease again hernia twice—fairly critical ones—and a knee surgical procedure. And there was a interval the place I principally could not transfer, however I wished to have interaction with motion for restoration, and for this reason I began doing and studying about yoga extra significantly. And I principally caught with the ArtMan Affiliation after finishing this coaching. This was ten years in the past, and I’ve been a member since then. I’m at present a gaggle chief, however I work extra within the background operative division of the group.

Dorka Farkas: My title is Dorka Farkas. I’m a member of ArtMan and likewise Baltazár Theatre. I’ve been residing in Hungary since 2011 and since then, I work in lots of roles and positions. At Baltazár Theatre, I am a choreographer-director and likewise motion group chief. And at ArtMan, I am a part of one in every of ArtMan’s larger tasks, which is known as the Tánceánia Dance Ensemble. We’ve got weekly rehearsals, we do inclusive work, and we produce modern dance items or simply rehearse collectively. And I additionally do operative work, just like the others, for the ArtMan Affiliation.

I even have one other challenge which is funded by the Worldwide Erasmus Community, and that is principally an artwork and awareness-raising marketing campaign. So, two artists go to colleges and one in every of these artists is of modified bodily capacity and the opposite is of unchanged capacity. And so they convey a dance and motion efficiency to those younger teams and likewise as linked to this full-day workshop. And that is principally for each age, from kindergartners all the best way to universities.

We additionally need to let you know about Artwork Menők or “Artwork Cool Folks,” loosely translated, which is a youth group of ArtMan and I’m the chief of it. The principle focus is creative work and efficiency, so we work on efficiency items. We simply had, truly, our first very profitable premiere in partnership with Radnóti Theatre. And the group began earlier than the pandemic, so it was slightly bit tough due to COVID. However this in-person premiere went very well. So now we have younger folks with modified skills and, for instance, Levi—one in every of them—Levi’s mom stated that previously one 12 months, he has developed as a lot as up to now ten years altogether due to this work and that now he can truly perceive what his mom is telling him as a result of Levi has some psychological disabilities. So sure, it has been a reasonably unbelievable time with this group.

Bíborka: And our subsequent query could be: What does efficiency imply to you in a single sentence?

Dorka: Dorka once more. So, the phrase efficiency in Hungarian, to me, has a really sturdy connotation about this type of motion artwork like experimentation, the tip of ’80s—and particularly after the change of methods within the ’90s after 1989. So, it’s occurring when one thing is burning, or one thing is moist, or individuals are wrapped in fresh-keeping foil or one thing like that. I noticed many occasions like this within the countryside and likewise in Budapest on the most random locations and venues. And I keep in mind as soon as my daughter was so impressed by this foil wrapping factor that she even began wrapping her personal dolls at dwelling in foil. So sure.

Zsófi: Thanks.

Kata: So, Kata talking. Efficiency to me is presence. It’s to be current in an motion or within the second. I personally studied classical ballet, and I used to be a part of classical dance corps within the conventional theatres. And I had no expertise with efficiency in any respect. And through all of my ballet profession and dance profession, every thing was approached from the attitude of kind. And that is how I additionally approached my very own physique, that I needed to take up particular shapes and kinds. And once I left the Szeged Modern Ballet Firm in 2002—I used to be nonetheless a visitor artist till 2009—however in 2002, I met Réka Szabó who’s the founding father of Tünet Együttes or the Signs, a Budapest-based modern theatre and dance ensemble.

And at the moment, she was rehearsing or beginning rehearsals for the present By Likelihood, and the audition for this challenge was to improvise. And I do not forget that I went to the audition and I used to be not solely not in a position to transfer, however I even felt type of ashamed that my physique was not given any particular kind. And I used to be simply standing there, and I did not know what to do with my physique. So in any case, someway Réka selected me, and I used to be a part of this challenge. And I used to be performing in By Likelihood for ten years, and it was a unbelievable expertise to work with László Mérő, for instance.

And in Hungarian, we regularly say, “to reside with a incapacity,” or fogyatékkal élni. And anyway, in English, the “dis-” and “-abled,” I do not like that as a result of it teams folks into these two completely different teams; that there are the people who find themselves abled after which the people who find themselves “dis-.”

Ádám: So, Ádám talking. After I consider efficiency artwork, I take into consideration that most likely there will not be as a lot talking onstage. So Hamlet will not come and won’t inform his story and why and the place he is coming from and what he will do and why. However normally, one thing occurs with the physique in efficiency artwork. That is what I consider. However truly, whereas we’re talking, issues additionally occur to the physique. So I am contradicting myself. However undoubtedly it is nontraditional storytelling, and it has to do with one thing occurring within the current to the performers and to not characters, so there’s much less of a distance between the viewers. However truly, Hamlet can also be a efficiency, I believe, so generally I do not agree with myself on this regard.

And it is humorous that you just say that you just consider after the regime change—you consider performances after—as a result of to me, what involves my thoughts is the ’70s and the ’80s. For instance, once I was about twelve years outdated I used to be at a Balaton live performance, and it was after they turned a gaggle once more. And I do not forget that one of many singers, FeLugosi László, was sporting these fishnet tights, and he was banging little, tiny items of rock collectively—or stones—above his head. And I had no thought what was happening, however I actually appreciated it. And I knew that this was what we name efficiency artwork. However I used to be twelve and I actually did not get it, however I actually appreciated this type of current on stage.

Ferenc: Fery right here. I noticed some performances, what you talked about, within the ’70s and ’80s. I used to be fairly a younger man again then resulting from my age. However what’s for positive is that that they had fairly a magical influence on me. I keep in mind not understanding something from them however having this sense that I am being part of a really sturdy factor that is occurring. So I might say that efficiency is a theatrical occasion of some kinds that crosses borders or an motion. I believe motion and efficiency are fairly shut to one another and that it all the time has a provocative component in it that pushes the viewer throughout some social conventions.

Bíborka: Transferring on. Our subsequent brief query could be please outline incapacity in a single sentence. It may be unattainable however let’s strive.

Ádám: I do not just like the phrase incapacity, and never as a result of I reside with a bodily incapacity, however I am someway disgusted by the phrase. And due to the best way it appears like in Hungarian, it is… in Hungarian it is fogyatékos. And this phrase comes from… it displays on the method of disappearing. So from this, the “dis-” prefix is referring to one thing that’s missing, and I might by no means relate to this phrase. It someway… it jogs my memory of stew. It has no texture and it is a passive phrase. So I’ve all the time been named handicapped, which is a bodily incapacity, and I am resisting to utilizing fogyatékos or disabled in English as a result of it exhibits an absence of a ability in comparison with a sure norm. However this norm just isn’t precisely outlined after we use this. It does not state what’s the norm, nevertheless it’s undoubtedly one thing that’s a capability accessible to the bulk inhabitants. It’s one thing that almost all of individuals possess. After which… incapacity all the time sounds to me like one thing with this slippery, slimy texture. And that is just about it. That is what I can say now from a really emotional response. I imply, I had a really emotional response to it, and I principally approached it from the phrase, the that means of the phrase and the shape.

Dorka: I need to connect with the Hungarian phrase. That is Dorka talking. I truly simply Googled it and within the Hungarian dictionary on-line, it says that incapacity is a course of or occasion of one thing depleting or disappearing, however extra depleting. So, the Hungarian phrase for incapacity is to be depleting in some content material, like wine bottle getting empty. And truly, the identical phrase is used for the moon—for instance, fogyatkozás, nevertheless it’s additionally a navy phrase. I heard this someplace, however I have never discovered proof that it is a phrase utilized in navy and the military. And it is one thing concerning the military’s folks and the motion.

And in Hungarian, we regularly say, “to reside with a incapacity,” or fogyatékkal élni. And anyway, in English, the “dis-” and “-abled,” I do not like that as a result of it teams folks into these two completely different teams; that there are the people who find themselves abled after which the people who find themselves “dis-.” And so the “dis-” individuals are most likely additionally missing one thing like motion or sensory capability. However what I truly need to say is that handicapped, it is one other phrase which I truly want. I do not just like the phrase incapacity and even in Hungarian or English—though in English which can be extra choices. There’s extra PC methods of claiming it like in a different way abled. However anyway, handicapped is commonly used interchangeably in Hungarian with disabled, and I want that as a result of it is extra summary. I believe it leaves more room for variations and subjectivity. So for instance, there are extra and fewer seen handicaps or there are every type and methods of being handicapped. So I want that.

Kata: Kata talking. In ArtMan, we use the phrase “susceptible to hurt.” In Hungarian, that is one phrase: sérülékeny. So we use susceptible to hurt very often—and never solely for many who even have a modified capacity however I, myself, once I consider this phrase, “susceptible to hurt,” I additionally consider our dancers and members who aren’t disabled per se. And I consider being susceptible to hurt not solely within the rehearsal area or in a dance area but additionally in actual life it appears very related. One other factor about understanding and studying phrases and their meanings and nuances got here to my thoughts, which is I believe that having a handicap or being disabled is type of linked to the case of dependancy as a result of these phrases are someway all targeted on dependence and absence. So not having one thing and type of being codependent or depending on it or from it. So possibly this dependancy or dependence can be some type of handicap, maybe.

Ferenc: So yeah, why do not now we have a very good phrase for this? “Disabled” has such unfavorable connotations. That is Fery talking, by the best way. And no different phrase appears good. Like “particular want” or “particular skills” or “modified skills,”—these all really feel like cautious paraphrasings of getting some type of an issue which isn’t named, or it can’t be named.

Ádám: Yeah, particular. The phrase particular has a unfavorable connotation. It has some type of a hypocrisy about it as a result of what’s particular? Is it a very good particular? A nasty particular? It is a secret, it is so mysterious? We do not understand how nevertheless it’s particular.

Ferenc: Yeah, it’s totally summary. However then if we slim it down… as an example a blind individual. To say that they are visually disabled or visually handicapped is so bizarre. If somebody is blind, they’re blind, interval. It is not offensive. It is particular.

Ádám: Yeah, and it is good as a result of now we have this one syllable phrase for it.

Zsófi: May you speak about your present tasks or something, any query that’s in your thoughts as of late about this subject?

Dorka: We’re coming from a rehearsal for the Annual ArtMan Night. That is occurring in Trafó on the tenth of Might. And we composed or created a chunk—or within the course of of making a chunk—referred to as Mayday with the Tánceánia Ensemble. And I, Dorka, I’m the director. Fery is the assistant director, and there is additionally Eszter Gál, who performs an necessary half. And likewise, now we have Victor Szivák-Tóth for dramaturgical help.

And on this present, I am attempting a really completely different approach of working with the corporate than earlier than as a result of we already made 5 items with Esther up to now, in order that’s not a brand new factor, the collaboration. However normally, improvisation could be very central to what we do, and most of our items are literally based mostly on structured improv. However this time, there’s extra construction than what we’re used to. There are fastened scenes and there is a narrative arc within the piece. We’ve got particular costumes and set items. The actions are extra composed and choreographed, not like what we usually do, which is fixing the start line and the tip level. So I’m fairly uncertain about the place that is main for the ensemble, nevertheless it’s fairly thrilling. We’re fairly restricted in time and area. I imply, we solely have two to a few hours to rehearse every week, however that is one thing unfamiliar for all of us.

Ádám: Can I ask a query? What do you imply precisely while you speak about improvisation as a energy within the firm? Does that truth come from that it’s tougher for the our bodies to breed a set choreo than to convey out what they will do or to create their very own materials? Or why is it that you just use plenty of improvisation?

Dorka: Dorka says that I need Fery to reply this as a result of it has to do with this query quite a bit with what we as an ensemble know find out how to do and have no idea find out how to do or can do and what we will not do but additionally concerning the historical past of the entire group. However Fery was within the restroom.

Zsófi: Fery comes again from the lavatory at this level.

Bíborka: Sure. And he says:

Ferenc: So, I personally began with fastened kinds as a dancer and have become freer and freer in dancing. And I got interested within the motion that’s based mostly on the present emotions and impulses within the physique relatively than phrases or preset issues. And it turned a relentless analysis. So in Hungary, again then we did not have any colleges or trainings for this type of stuff, and at one level I had a query in my thoughts. The query was: How does this all work with regards to handicapped folks? And I wished to raised perceive how I work as a dancer, so I turned to these with completely different handicaps or completely different mobility skills to ask this query. And so they function very in a different way but additionally in some methods, similar to me as a dancer.

And so, to the query of how we arrived to improvisation as an ensemble, effectively, I spent most of my profession with improvised dance and motion. And since I discovered it rather more intriguing—not as a result of I am unable to keep in mind phrases or memorize motion sequences, although much less and fewer due to my age—however as a result of I simply discover it far more intriguing. And it was very apparent when working with folks with completely different bodily skills that such specificity in motion {that a} phrase requires from a dancer is simply insufficient. By no means thoughts how a lot these folks need to execute a phrase, generally they simply will not have the ability to do precisely that—what’s required from them. For instance, lead their hand on that particular line. It is simply not ample on this state of affairs. So, we wished to create a system of motion through which a handicapped mover is simply as ample as a non-handicapped mover. Take a dance artist of their prime time, like mid age or mid-career, and somebody with a bodily incapacity. We wish each of them to be ample in the identical approach.

So due to the ataxia, you possibly can take two of my signatures they usually do not look alike in any respect. And that is simply how it’s. However precisely due to this, it is unattainable to pretend them. You recognize, you are taking ten of my signatures and you may see that it is finished by the identical individual. And I believe it is simpler to falsify one thing that appears precisely the identical.

Bíborka: To this, Dorka responds:

Dorka: Yeah, so that is our regular approach of working. And I’m coming completely ready to this with this present that we’re rehearsing, Mayday. I really feel like I am type of trolling round with our regular, typical strategies. And right here, a fantastic change is going on. The classes of disabled and non-disabled folks in our ensemble—by the best way, I really feel very humorous saying this phrase, and I might by no means have used this phrase “disabled” earlier than this dialog, and now I’ve all kinds of affiliation in my thoughts. Anyway, so the ratio of disabled and non-disabled movers in our ensemble could be very completely different as of late.

Previously years, a couple of of our members, extra our handicapped members, handed away. And these folks had very particular circumstances which made their motion and their efficiency type very particular to them. By the best way, they’re actually glorious. All of them had been actually glorious performers, unbelievable performing artists in their very own methods. All of them had enormous presence on stage and a focus and sense for timing and referring to others and superb tuning various things. So anyway, this ratio obtained rearranged and now we’re eight folks led by three members out of those eight folks. So the three members are additionally dancers. And normally, the people who find themselves main a challenge are additionally a part of the challenge. However this time, I’m, because the director, type of stepping out extra. This by no means occurs. So the director and the one who leads the challenge all the time participates absolutely, and I’m extra eliminated, however Fery and Eszter are nonetheless inside dancing like everybody else. So that is how I began messing with our typical strategies. And I am attempting to impress some new issues by this manner of working.

Ádám: I used to be actually inquisitive about this, particularly as a result of I draw quite a bit—just lately or up to now years, increasingly. And my arms shake. They shake much less and fewer, however they nonetheless shake. And it is one thing referred to as ataxia, which makes me do involuntary actions at random occasions, particularly in demanding conditions however normally as effectively. And it is referred to as intention tremor. So the extra I need it to not shake, the extra it shakes. So principally, I’ve to deal with tricking my mind to not deal with not wanting it to shake. However principally, I’m drawing, and shaking is actually health-intentional, however I can construct within the strains in my drawing. So, I can comply with the strains and this manner I can management my artwork as a result of I can simply go together with what my hand does. And I prefer it, truly, that my hand can do one thing that my thoughts can not even think about.

Dorka: That is precisely what we do in Tánceánia, within the ensemble. I suppose you possibly can name this the inclusive strategy. However what it’s actually is that we work with what now we have. And we do not spotlight issues or elevate different issues and ignore some issues. No, that is what there may be, so we use it.

Ádám: Sure.

Dorka: And we relate to it and make it a part of the work.

Ádám: Sure. Principally, how large of an area anyone leaves for creation is actually about being current to make a sound and to see what impact it has on you. You’ll be able to actually create what you invite into the area. And you do not have to be handicapped for that, however you do not have to categorize actions. As a result of for instance, I haven’t got the strain that I have to have the ability to do one thing, a sure transfer, however this strain comes from society, to have the ability to carry out particular actions or gestures. And in order that’s why I requested about choreography.

And ataxia principally means the shortage of order. And so the unusual preconception in humanity that you would be able to management your physique—that as a human you are in complete management, that your physique is below your management—is a whole lie as a result of you may get most cancers and it kills you. However folks do not understand this as a result of they do not have sufficient expertise, and if anyone turns to a handicap individual, they’ve to understand that the system of being in management is fake. And possibly I can reside my life like this nevertheless it’s false. Interval. However I am saying this since you stated that you just turned to this type of work to completely have the ability to perceive your physique, Fer. And principally, as a result of the folks with their disabilities, they encounter these ideas on daily basis—which is, I believe, for my part, is a elementary human expertise—however anyone with ataxia encounters it far more. So if anyone can construct within the lack of management into their life or into their artwork, can get to locations and go to locations the place others can not.

Kata: I’ve plenty of issues coming to my thoughts. That is Kata talking. Yoga is one in every of them. Yoga works with the thoughts, for instance, and makes use of the physique solely in order that the physique might help the thoughts to get to a impartial level. So the physique is used to realize this calm or peace. It is precisely the reverse of what you’re saying, Ádám, however actually it will get to the identical place. Though you obtain full management however in reaching neutrality, you too can let go of every thing too, on the similar time.

Anyway, we are actually doing this group, Artwork Menők, which is our youth group and our piece Átváltozás or Transformation, it is the second piece introduced within the upcoming eve in Trafó in Might. And it is so fascinating and so good to see what’s occurring within the group. Having a father or mother say that their baby, who’s a member within the group, developed as a lot up to now months of working with us throughout rehearsal as up to now ten years of his life, it is unbelievable. This baby could be very restricted in his speech. And now, this father or mother got here to us and stated that she understands his phrases—her kid’s phrases—which by no means occurred earlier than.

And it makes me assume that bodily sensation and the way the folks transfer their our bodies stimulates what cognitively and emotionally occurs to them, they usually can actually discover themselves and change into conscious of their worth and acquire unbelievable confidence by being in entrance of an viewers and performing in entrance of an viewers. Assembly oneself on this approach undoubtedly contributed to this individual talking higher and extra legibly. In September, after we began working collectively and rehearsing, we didn’t perceive something that he was saying. And I cherished giving him the attendance sheet for him to signal, despite the fact that he couldn’t signal it “correctly,” however he signed it with [his arm]. That is about presence to me. And so, in Artmenők there is a double problem of improvisation. We work in a really comparable approach that we talked about earlier than, like we do within the grownup ensemble, Tánceánia. So, we work quite a bit with improvisation and structured improvisation—it’s totally comparable.

However COVID occurred, and COVID occurred very intensely till February, as an example. There was this large wave in previous November and likewise one other run in February. In November, there was a small efficiency in Trafó with ArtMan, after which there was a premiere in Radnóti in March with Artwork Menők, the youth group, as effectively. And it was not solely that improvisation occurred on the stage as a part of the piece but additionally in who participated in the entire thing. Folks dropped out and in of rehearsal due to COVID, and different causes, however principally COVID. And we, because the leaders, by no means knew who might make it to a rehearsal and even to a efficiency. This turned very spontaneous and created an unbelievable flexibility in us and the group. Though the piece has fairly a selected construction, it has a beginning and ending level, we actually turned rather more versatile, and this was an additional improvisation on prime of the opposite improvisation. And now in our upcoming present, we’re additionally unsure who might be there, truly. And I am actually amazed by that Detti and Andi, the 2 different group leaders, by sticking by way of this course of and bringing the group onstage to carry out, nonetheless. The title Átváltozás, truly it means transformation. So it is not unintentional. Unexpected circumstances and fixed change, I suppose.

Dorka: I pulled up the official description of the upcoming ArtMan Eve presentation, the present shows. That is Dorka talking. And it goes, “Dance grants all of us a free area to just accept our motion as is. It doesn’t regulate it however liberates it, creating the area of actual and true inclusivity. Onstage, the motion of each handicapped and non-handicapped dancers is equally thrilling for the viewers as effectively. So inclusion occurs not solely among the many performers but additionally on the extent of the audiences.” So, that is the plan. It is a assertion about what we take into account necessary in dance. Clearly, it is not a basic strategy, however that is our go-to strategy.

And Ádám, what are you doing as of late?

Ádám: I am engaged on an adaptation of Moby Dick. Eight guys are in it. I am additionally taking part in in it, and Kárpáti Péter, my pal, is doing a solo. And I might be in it, and likewise the dancer Gáspár Téri might be in it. And these aren’t in any approach associated to this subject. And going again to your expertise with the boy who might speak approach higher after working with you and the ArtMan group, I’ve plenty of expertise simply remembering being on stage and seeing how a lot I developed in so some ways as a result of the stage could make you understand that you’re able to a lot greater than you assume you’re.

For instance… okay, I will say fairly a wild instance, however your mother cuts the bread for you as a result of she thinks you can’t do it. And so that you by no means assume extra about ever slicing bread by yourself. However onstage, your mother just isn’t there, so it’s a must to lower the bread. And if you’re stepping into the sunshine, it’s a must to take the accountability. And also you’re within the mild. There isn’t any one else there. You can’t depend upon anyone else, like within the deep sea however within the great way, while you begin to swim, and also you understand you possibly can swim. So that you follow and also you understand that, onstage I did not take into consideration what I assumed instantly once I was coming off of stage. For instance, I did not journey onstage, and coming off the stage I tripped, and I do not dare to get off.

So these had been crucial experiences. And when it’s a must to say a sentence 100 occasions every week, you understand that you’ve an impact, and also you meet your self in a extra direct approach. And I’ve a fantastic sense of independence. And I simply assume that generally the issues that occur onstage are extra actual than issues that occur in actual life.

Dorka: I have been that means to say this phrase for the previous two minutes, that sure, the stage is a magical place. Not solely theoretically talking, however actually, in that elevated time and area, the relationships are completely different and various things are potential than outdoors of it. And it’s potential that issues occur there that will not have been potential or anticipated by us in any respect in any other case. And the loneliness of that is so actual. It is that what you realized or what you assume you already know, fully disappear. And yeah, if it is not a monodrama however a number of folks onstage, then this magical area of the stage is shared amongst them, so then the relationships and connections and the story written collectively are so completely distinctive and particular each time.

Bíborka: And to this, Ádám jumps in saying:

Ádám: Sure, one other factor that got here to my thoughts about paperwork, once more, is that my signature isn’t the identical. So due to the ataxia, you possibly can take two of my signatures they usually do not look alike in any respect. And that is simply how it’s. However precisely due to this, it is unattainable to pretend them. You recognize, you are taking ten of my signatures and you may see that it is finished by the identical individual. And I believe it is simpler to falsify one thing that appears precisely the identical.

Bíborka: Right here, they preserve speaking about signatures and filling out kinds and having to cope with paperwork with ataxia. And I simply need to say—additionally in Zsófi’s title, who needed to depart, sadly, earlier—that it was such an honor to do that dialog with these wonderful folks. And likewise whereas translating this podcast, we needed to hear once more to the speak and type of pull it aside piece by piece. We’re simply so very grateful having realized all this about their artwork and their expertise in life. I believe it is actually wonderful what they do. So, preserve following the work of Ádám Fekete and the ArtMan Affiliation and Tánceánia Ensemble, and thanks to our company for sharing these two hours with us again within the spring.

Bíborka: This has been one other episode of the PUHA podcast. We’re your hosts Zsófi and Bíborka. This podcast is produced as a contribution to HowlRound Theatre Commons. You’ll find extra episodes of this collection and different HowlRound podcasts in our feed on iTunes, Google Podcasts, Spotify, and wherever you discover your podcasts. Make sure you search HowlRound Theatre Commons podcasts and subscribe to obtain new episodes. When you cherished this podcast, publish a ranking and write a evaluation on these platforms. This helps different folks discover us.

You can too discover a transcript for this episode, together with plenty of different progressive and disruptive content material on Have an thought for an thrilling podcast, essay, or TV occasion the theatre group wants to listen to? Go to and submit your concepts to the commons.



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