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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, this can be 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 contributors have been saying, and you’ll hear Bíborka and me talking what they mentioned in Hungarian.

Bíborka: Yeah. So you’ll hear the 2 of us rather a lot, as a result of we will 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 all the pieces that the individuals from the ArtMan Affiliation mentioned. That is mainly a gaggle that bridges dance pedagogy and totally different talents. And, Zsófi?

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

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

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 truly, I had been a dancer for some time. And presently, I work as a motion therapist at a middle for disabled youngsters.

Ádám Fekete: I am Ádám Fekete. I am a playwright, director, and an actor. I graduated as a dramaturg, and now I largely spend my time with directing. And 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 start 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 nicely, and poetry can be a extremely essential a part of my work.

Kata Kopeczny: I am Kata Kopeczny. I am a member of ArtMan, and I additionally have interaction with the path—the operative issues—of the affiliation. I’m additionally coming from a dance background. I used to be educated 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 alter profession fully, and I believed 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, and so they have been on the lookout for a motion individual to work with these youngsters. And with big bravery, I accepted. However I quickly realized that I used to be truly missing the talents 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 abilities about methodology—like pedagogical abilities—and experiences that I might use on this place immediately.

And speaking about bodily sensations that Ádám talked about, I truly had a number of fairly severe accidents due to my dance profession. I had decrease again hernia twice—fairly severe ones—and a knee surgical procedure. And there was a interval the place I mainly could not transfer, however I wished to interact with motion for restoration, and this is the reason I began doing and studying about yoga extra critically. And I mainly 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 presently 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 dwelling 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 considered one of ArtMan’s greater initiatives, which is known as the Tánceánia Dance Ensemble. We have now 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 mainly an artwork and awareness-raising marketing campaign. So, two artists go to colleges and considered one 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 related to this full-day workshop. And that is mainly 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 primary 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 we’ve younger individuals with modified talents and, for instance, Levi—considered one of them—Levi’s mom mentioned that previously one 12 months, he has developed as a lot as prior 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 fairly implausible time with this group.

Bíborka: And our subsequent query can 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 robust connotation about this sort of motion artwork like experimentation, the tip of ’80s—and particularly after the change of techniques within the ’90s after 1989. So, it’s taking place 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 bear 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 actually 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 anyway. And through all of my ballet profession and dance profession, all the pieces 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 varieties. And after 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 capable of transfer, however I even felt kind 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 anyhow, 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 implausible expertise to work with László Mérő, for instance.

And in Hungarian, we frequently 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 individuals into these two totally different teams; that there are the people who find themselves abled after which the people who find themselves “dis-.”

Ádám: So, Ádám talking. Once 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 often, 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 positively it is nontraditional storytelling, and it has to do with one thing taking place 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 be a efficiency, I feel, so generally I do not agree with myself on this regard.

And it is humorous that you simply say that you simply 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, after 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 concept what was occurring, however I actually preferred 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 preferred this kind 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 as a consequence of my age. However what’s for positive is that they’d fairly a magical impression on me. I bear in mind not understanding something from them however having this sense that I am being part of a really robust factor that is taking place. So I might say that efficiency is a theatrical occasion of some kinds that crosses borders or an motion. I feel motion and efficiency are fairly shut to one another and that it at all times has a provocative ingredient in it that pushes the viewer throughout some social conventions.

Bíborka: Shifting on. Our subsequent quick query can be please outline incapacity in a single sentence. It may be unimaginable 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 feels 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 at all times 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 a scarcity of a ability in comparison with a sure norm. However this norm isn’t precisely outlined after we use this. It does not state what’s the norm, but it surely’s positively one thing that’s a capability accessible to the bulk inhabitants. It’s one thing that almost all of individuals possess. After which… incapacity at all times 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 largely approached it from the phrase, the which 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 really, the identical phrase is used for the moon—for instance, fogyatkozás, but it surely’s additionally a army phrase. I heard this someplace, however I have never discovered proof that it is a phrase utilized in army and the military. And it is one thing in regards to the military’s individuals and the motion.

And in Hungarian, we frequently 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 individuals into these two totally 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 desire. I do not just like the phrase incapacity and even in Hungarian or English—though in English which are extra choices. There’s extra PC methods of claiming it like otherwise abled. However anyway, handicapped is usually used interchangeably in Hungarian with disabled, and I desire that as a result of it is extra summary. I feel it leaves more room for variations and subjectivity. So for instance, there are extra and fewer seen handicaps or there are all sorts and methods of being handicapped. So I desire that.

Kata: Kata talking. In ArtMan, we use the phrase “vulnerable to hurt.” In Hungarian, that is one phrase: sérülékeny. So we use vulnerable to hurt very often—and never solely for many who even have a modified capacity however I, myself, after I consider this phrase, “vulnerable to hurt,” I additionally consider our dancers and members who should not disabled per se. And I consider being vulnerable to hurt not solely within the rehearsal house or in a dance house 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 feel that having a handicap or being disabled is form of related 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 kind of being codependent or depending on it or from it. So perhaps this dependancy or dependence will also be some kind of handicap, maybe.

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

Ádám: Yeah, particular. The phrase particular has a destructive connotation. It has some kind of a hypocrisy about it as a result of what’s particular? Is it particular? A foul particular? It is a secret, it is so mysterious? We do not understand how but it surely’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 we’ve this one syllable phrase for it.

Zsófi: May you speak about your present initiatives or something, any query that’s in your thoughts today about this subject?

Dorka: We’re coming from a rehearsal for the Annual ArtMan Night. That is taking place in Trafó on the tenth of Could. And we composed or created a bit—or within the course of of making a bit—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 essential half. And likewise, we’ve Victor Szivák-Tóth for dramaturgical help.

And on this present, I am making an attempt a really totally different approach of working with the corporate than earlier than as a result of we already made 5 items with Esther prior to now, in order that’s not a brand new factor, the collaboration. However often, 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 have now particular costumes and set items. The actions are extra composed and choreographed, in contrast to what we usually do, which is fixing the place to begin and the tip level. So I’m fairly uncertain about the place that is main for the ensemble, but it surely’s fairly thrilling. We’re fairly restricted in time and house. I imply, we solely have two to a few hours to rehearse per week, however that is one thing unfamiliar for all of us.

Ádám: Can I ask a query? What do you imply precisely if you speak about improvisation as a power within the firm? Does that reality come from that it’s tougher for the our bodies to breed a hard and fast choreo than to convey out what they will do or to create their very own materials? Or why is it that you simply use a variety of improvisation?

Dorka: Dorka says that I need Fery to reply this as a result of it has to do with this query rather a lot with what we as an ensemble know the right way to do and have no idea the right way to do or can do and what we will not do but additionally in regards to the historical past of the entire group. However Fery was within the restroom.

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

Bíborka: Sure. And he says:

Ferenc: So, I actually began with fastened varieties 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 quite 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 sort of stuff, and at one level I had a query in my thoughts. The query was: How does this all work in relation to handicapped individuals? And I wished to higher perceive how I work as a dancer, so I turned to these with totally different handicaps or totally different mobility talents to ask this query. And so they function very otherwise 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, nicely, I spent most of my profession with improvised dance and motion. And since I discovered it way more intriguing—not as a result of I can not bear 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 individuals with totally different bodily talents that such specificity in motion {that a} phrase requires from a dancer is simply insufficient. By no means thoughts how a lot these individuals need to execute a phrase, generally they only will not be capable 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 during 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 would like each of them to be ample in the identical approach.

So due to the ataxia, you’ll be able to take two of my signatures and so they do not look alike in any respect. And that is simply how it’s. However precisely due to this, it is unimaginable to faux them. You already know, you’re taking ten of my signatures and you may see that it is finished by the identical individual. And I feel 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 able to this with this present that we’re rehearsing, Mayday. I really feel like I am form of trolling round with our regular, standard strategies. And right here, an awesome change is occurring. The classes of disabled and non-disabled individuals 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 totally different today.

Prior to now years, a couple of of our members, extra our handicapped members, handed away. And these individuals had very particular circumstances which made their motion and their efficiency type very particular to them. By the best way, they’re actually wonderful. All of them have been actually wonderful performers, unimaginable performing artists in their very own methods. All of them had big presence on stage and a focus and sense for timing and regarding others and fantastic tuning various things. So anyway, this ratio obtained rearranged and now we’re eight individuals led by three members out of those eight individuals. So the three members are additionally dancers. And often, the people who find themselves main a challenge are additionally a part of the challenge. However this time, I’m, because the director, form of stepping out extra. This by no means occurs. So the director and the one who leads the challenge at all times 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 standard strategies. And I am making an attempt to impress some new issues by this fashion of working.

Ádám: I used to be actually inquisitive about this, particularly as a result of I draw rather a lot—lately or prior to now years, increasingly more. And my palms 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 worrying conditions however generally as nicely. And it is referred to as intention tremor. So the extra I need it to not shake, the extra it shakes. So mainly, I’ve to concentrate on tricking my mind to not concentrate on not wanting it to shake. However mainly, I’m drawing, and shaking is admittedly health-intentional, however I can construct within the strains in my drawing. So, I can comply with the strains and this fashion 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’t even think about.

Dorka: That is precisely what we do in Tánceánia, within the ensemble. I assume you’ll be able to name this the inclusive method. However what it’s actually is that we work with what we’ve. 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 huge of an area someone leaves for creation is admittedly 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 house. 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 mainly means the shortage of order. And so the unusual preconception in humanity which you could management your physique—that as a human you are in complete management, that your physique is beneath your management—is a whole lie as a result of you may get most cancers and it kills you. However individuals do not understand this as a result of they do not have sufficient expertise, and if someone turns to a handicap individual, they’ve to appreciate that the system of being in management is fake. And perhaps I can reside my life like this but it surely’s false. Interval. However I am saying this since you mentioned that you simply turned to this sort of work to totally be capable to perceive your physique, Fer. And mainly, as a result of the individuals with their disabilities, they encounter these ideas day-after-day—which is, I feel, in my view, is a elementary human expertise—however someone with ataxia encounters it far more. So if someone 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’t.

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

Anyway, we at the moment are 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 Could. And it is so fascinating and so good to see what’s taking place within the group. Having a father or mother say that their baby, who’s a member within the group, developed as a lot prior to now months of working with us throughout rehearsal as prior to now ten years of his life, it is unimaginable. This baby could be very restricted in his speech. And now, this father or mother got here to us and mentioned 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 individuals transfer their our bodies stimulates what cognitively and emotionally occurs to them, and so they can actually discover themselves and turn out to be conscious of their worth and achieve unimaginable confidence by being in entrance of an viewers and performing in entrance of an viewers. Assembly oneself on this approach positively 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, regardless 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 rather a lot 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 huge 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 nicely. 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 largely 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 unimaginable flexibility in us and the group. Though the piece has fairly a particular construction, it has a beginning and ending level, we actually turned way 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 via this course of and bringing the group onstage to carry out, however. The title Átváltozás, truly it means transformation. So it isn’t unintended. Unexpected circumstances and fixed change, I assume.

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

And Ádám, what are you doing today?

Ádám: I am engaged on an adaptation of Moby Dick. Eight guys are in it. I am additionally enjoying in it, and Kárpáti Péter, my good friend, is doing a solo. And I might be in it, and likewise the dancer Gáspár Téri might be in it. And these should not in any approach associated to this subject. And going again to your expertise with the boy who might discuss approach higher after working with you and the ArtMan group, I’ve a variety 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 might be.

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 isn’t there, so it’s important to reduce the bread. And if you’re stepping into the sunshine, it’s important to take the duty. And also you’re within the mild. There is no one else there. You can not rely upon anyone else, like within the deep sea however within the great way, if you begin to swim, and also you understand you’ll be able to swim. So that you apply and also you understand that, onstage I did not take into consideration what I believed instantly after 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 have been essential experiences. And when it’s important to say a sentence 100 occasions per week, you understand that you’ve an impact, and also you meet your self in a extra direct approach. And I’ve an awesome 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 which 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 house, the relationships are totally different and various things are attainable than exterior of it. And it’s attainable that issues occur there that won’t have been attainable or anticipated by us in any respect in any other case. And the loneliness of that is so actual. It is that what you discovered or what you assume you realize, fully disappear. And yeah, if it isn’t a monodrama however a number of individuals onstage, then this magical house 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 forms, once more, is that my signature is rarely the identical. So due to the ataxia, you’ll be able to take two of my signatures and so they do not look alike in any respect. And that is simply how it’s. However precisely due to this, it is unimaginable to faux them. You already know, you’re taking ten of my signatures and you may see that it is finished by the identical individual. And I feel it is simpler to falsify one thing that appears precisely the identical.

Bíborka: Right here, they preserve speaking about signatures and filling out varieties and having to cope with forms 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 individuals. And likewise whereas translating this podcast, we needed to pay attention once more to the discuss and form of pull it aside piece by piece. We’re simply so very grateful having discovered all this about their artwork and their expertise in life. I feel 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 friends 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 will discover extra episodes of this sequence and different HowlRound podcasts in our feed on iTunes, Google Podcasts, Spotify, and wherever you discover your podcasts. Remember to search HowlRound Theatre Commons podcasts and subscribe to obtain new episodes. When you cherished this podcast, publish a score and write a assessment on these platforms. This helps different individuals discover us.

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