• Meeting Kurt Weill

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    TA work in progress based on our own selection of the great Kurt Weill songs. A theatre concert with unexpected guidelines. Featuring the Turkish mezzosoprano Tulu İçözü and directed by Carlos Rodero. Opening planned for the last trimester of the year.

    00
  • Szívhasadás (Heartbreaking)

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    The poetry of Miguel Hernández and Rádnoti Miklós through a putting on the stage based on the dramaturgy of movement. Choreographed by Daniela H. Faith and directed by Carlos Rodero. Performed in National Dance Theatre of Budapest by Fülöp Ágnes, Oláh László and Daniela H. Faith.

    Szívhasadás (Heartbreaking)
  • Matruska (Russian Dolls)

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    A metaphor of the countless intimate drawers that we could find in the feminine sphere; a collection of different identities which coexist inside the same person, represented by three dancers that unify that reality. Created by Daniela H. Faith and Carlos Rodero. Performed in Millenaris Theatre and Gödör Klub by Kopeczny Kata, Dombi Kati, Erika Méndez and Daniela H. Faith and in Bakelitt Studio by Hucker Kata, Kulcsár Vajda Eniko and Fülöp Ágnes.

    Matruska (Russian Dolls)
  • Részletek egy munkanaplóból
    (Excerpts from a Working Diary)

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    A research on the borders of text and physical theatre, written and directed by Carlos Rodero. Performed in Millenáris Theatre by Zeck Julianna, Papp Dániel, Hajdú László, Cseke Katinka and Vasvári Emese.

    Részletek egy munkanaplóból (Excerpts from a Working Diary)
  • Csodakvintett (Miraculous Five)

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    An amazing and astonishing piece written and directed by Carlos Rodero, full of surprising situations and intelligent humor. A great bunch of brilliant samples of acting. Performed in Tivoli Theatre, Bakelitt Studio and National Theatre of Budapest by Lass Bea, Horváth Sándor, Papp Dániel and Kadono Yuuna.

    Csodakvintett (Miraculous Five
  • Sárba tiport Orfeusz (Orpheus Stomped in Dirt)

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    Based on the Claudio Monteverdi’s opera, Carlos Rodero creates a travel towards the limits of love, death and inspiration with the combination of languages such as physical theatre, contemporary dance, clown or an own imaginary and ironical vision of drama techniques. With the Balázs Elemér Trio music on the stage, choreographed by Daniela H. Faith and Performed in Tivoli Theatre of Budapest and Círculo de Bellas Artes de Madrid by Tania Garrido, Takács Dórisz and Daniela H. Faith.

    Sárba tiport Orfeusz (Orpheus Stomped in Dirt)
  • Sárba tiport Orfeusz (Orpheus Stomped in Dirt)
    Concert Version

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    A Concert Version based on the play created by Carlos Rodero, with Daniela H. Faith and the Balázs Elemér Trio showing their powerful vision of the Claudio Monteverdi’s opera.

    Sárba tiport Orfeusz (Orpheus Stomped in Dirt) Concert Version
  • Matruska (Russian Dolls)

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    A new version of the play that check over the theatrical aspects of the proposal showed in Círculo de Bellas Artes de Madrid directed by Carlos Rodero. Performed by Fülöp Ágnes, Tóth Karolina and Daniela H. Faith.

    Matruska (Russian Dolls)

Sunday, September 11, 2011

MISMATCH DIALOGUE

In the Cage by Luris Lunchbox














Valencia James & Grecsó Zoltán
A Dialogue between two dancers

Grecsó Zoltán is one of my favorite Hungarian dancers. I still find surprising his versatility and ability to adapt and incorporate a wide register of languages. He has worked not only in Hungary but also abroad with a huge number of companies and choreographers. Now I find this delicate duet with Valencia James, also an excellent dancer original from Bridgetown, Barbados, who studied at the Hungarian Dance Academy and currently lives and works here. It is an initiative of Jeromos (Jérôme Li-Thiao-Té) other foreign multi-faceted artist who has decided to carry out their work in Hungary. Gone is a dialogue in which emotions are contained and every little gesture has a crucial role that touches us intimately. The lyrics of the song, natural and poetic, and the notes of a guitar seems to drive the movement of these dancers, some words are even written on their bodies to get our attention, perhaps unnecessarily, about the relationship between dance and poetry. But both dancers achieve independence from that framework to tell us about their relationship. Maybe it's like two birds that have just left their cage and bewildered by an unknown sense of freedom seal in that way their disencounter.


GONE by Jeromos

Jérôme Li-Thiao-Té — artist, songwriter
Declan Hannigan — film director
Zoltán Grecsó — dancer
Valencia James — dancer
Zsófi Lévai — make-up, design
Peter Woodgardener — film director’s assistant
Zsófia Puskely — logistics

Thanks to Fathir Ismail and Michael Kentish


Valencia James & Grecsó Zoltán
Diálogo entre dos bailarines

Grecsó Zoltán es uno de mis bailarines húngaros favoritos. No deja de sorprenderme su versatilidad y capacidad para adaptarse e incorporar un amplio registro de lenguajes. Ha trabajo no sólo en Hungría sino también en el extranjero con un sinfín de coreógrafos y compañías. Ahora descubro este delicado dúo con Valencia James, también una excelente bailarina original de Bridgetown, Barbados, que estudió en la Academia de Danza de Hungría y actualmente vive y trabaja aquí. Es una iniciativa de Jeromos (Jérôme Li-Thiao-Té) otro polifacético artista extranjero que ha decidido llevar a cabo su trabajo en Hungría. Gone es un diálogo en el que las emociones están contenidas y cada pequeño gesto tiene una función decisiva que nos conmueve íntimamente. La letra de la canción, sencilla y poética,  y las notas de una guitarra parece que impulsan los movimientos de estos bailarines, algunas palabras aparecen incluso escritas en sus cuerpos para llamarnos la atención, quizá de forma innecesaria, sobre la relación que hay entre danza y poesía. Pero ambos bailarines logran independizarse de este marco para contarnos su relación. Quizá sean como dos pájaros que acaban de dejar su jaula y desconcertados por un sentimiento de libertad que desconocían sellan así su desencuentro.



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