Incapacity | HowlRound Theatre Commons

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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 individuals had 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 things that the folks from the ArtMan Affiliation mentioned. That is principally a gaggle that bridges dance pedagogy and completely 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 properly.

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 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 delivery known as CP and in addition 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 properly, and poetry can be a extremely vital 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 Up to date Ballet for 13 years and in addition labored with different impartial artists and choreographers. I had an enormous burnout in my dance profession which triggered me to vary profession utterly, and I believed I might by no means truly wish to work in dance once more.

Then I began to work with youth with habit and substance abuse. There was a place, and so they had been in search of a motion particular person to work with these youngsters. And with enormous 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 may 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 this is the reason I began doing and studying about yoga extra severely. 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 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 in addition 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 in addition motion group chief. And at ArtMan, I am a part of one in all ArtMan’s larger tasks, which is known as the Tánceánia Dance Ensemble. We’ve weekly rehearsals, we do inclusive work, and we produce up to date 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 varsities and one in all these artists is of modified bodily capability and the opposite is of unchanged capability. And so they deliver a dance and motion efficiency to those younger teams and in addition as linked to this full-day workshop. And that is principally for each age, from kindergartners all the best way to universities.

We additionally wish 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 inventive 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 troublesome due to COVID. However this in-person premiere went very well. So now we have younger folks with modified talents and, for instance, Levi—one in all them—Levi’s mom mentioned that previously one 12 months, he has developed as a lot as previously 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 unbelievable 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 sturdy connotation about this type of motion artwork like experimentation, the tip of ’80s—and particularly after the change of programs within the ’90s after 1989. So, it’s taking place when one thing is burning, or one thing is moist, or persons are wrapped in fresh-keeping foil or one thing like that. I noticed many occasions like this within the countryside and in addition 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 house 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, all the things was approached from the angle of kind. And that is how I additionally approached my very own physique, that I needed to take up particular shapes and kinds. And after I left the Szeged Up to date 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 up to date 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 in any case, one way or the other 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 frequently say, “to dwell 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. 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’ll 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 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 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, after I was about twelve years outdated I used to be at a Balaton live performance, and it was after they grew to become 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 occurring, however I actually favored 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 favored 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 on account of my age. However what’s for positive is that that they had fairly a magical influence on me. I bear in mind not understanding something from them however having this sense that I am being part of a really sturdy 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 aspect in it that pushes the viewer throughout some social conventions.

Bíborka: Shifting on. Our subsequent brief query can be please outline incapacity in a single sentence. It is perhaps inconceivable however let’s strive.

Ádám: I do not just like the phrase incapacity, and never as a result of I dwell with a bodily incapacity, however I am one way or the other 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 may by no means relate to this phrase. It one way or the other… 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 shouldn’t be precisely outlined after we use this. It would not state what’s the norm, nevertheless it’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 wish to hook up 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 in regards to the military’s folks and the motion.

And in Hungarian, we frequently say, “to dwell 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-” persons are most likely additionally missing one thing like motion or sensory capability. However what I truly wish 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 might be extra choices. There’s extra PC methods of claiming it like in another way abled. However anyway, handicapped is usually used interchangeably in Hungarian with disabled, and I want that as a result of it is extra summary. I feel it leaves extra space for variations and subjectivity. So for instance, there are extra and fewer seen handicaps or there are every kind 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 individuals who even have a modified capability however I, myself, after 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 in addition 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 type of linked to the case of habit as a result of these phrases are one way or the other 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 habit or dependence can be some kind of handicap, maybe.

Ferenc: So yeah, why do not now we have a superb phrase for this? “Disabled” has such detrimental 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 type of an issue which isn’t named, or it can’t be named.

Ádám: Yeah, particular. The phrase particular has a detrimental connotation. It has some kind of a hypocrisy about it as a result of what’s particular? Is it a superb particular? A foul particular? It is a secret, it is so mysterious? We do not know the way nevertheless it’s particular.

Ferenc: Yeah, it is very summary. However then if we slender it down… for instance a blind particular person. To say that they are visually disabled or visually handicapped is so bizarre. If somebody is blind, they’re blind, interval. It isn’t 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 discuss your present tasks or something, any query that’s in your thoughts lately about this matter?

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

And on this present, I am attempting a really completely different manner of working with the corporate than earlier than as a result of we already made 5 items with Esther previously, 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 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 not sure 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 3 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 once you discuss improvisation as a power within the firm? Does that reality come from that it’s more durable for the our bodies to breed a set choreo than to deliver out what they will do or to create their very own materials? Or why is it that you just use a whole lot 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 way to do and have no idea the way to do or can do and what we won’t do but in addition 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 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 reasonably than phrases or preset issues. And it grew to become a relentless analysis. So in Hungary, again then we did not have any faculties 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 in relation 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 talents to ask this query. And so they function very in another way but in addition in some methods, similar to me as a dancer.

And so, to the query of how we arrived to improvisation as an ensemble, properly, I spent most of my profession with improvised dance and motion. And since I discovered it far 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 folks with completely 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 folks wish to execute a phrase, generally they simply 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 enough on this state of affairs. So, we wished to create a system of motion wherein a handicapped mover is simply as enough 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 enough in the identical manner.

So due to the ataxia, you possibly can 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 inconceivable to pretend them. You realize, you’re taking ten of my signatures and you’ll see that it is accomplished by the identical particular person. 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 manner 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, ordinary strategies. And right here, an excellent 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 lately.

Prior to now years, a couple of of our members, extra our handicapped members, handed away. And these folks had very particular situations which made their motion and their efficiency fashion very particular to them. By the best way, they’re actually wonderful. All of them had been actually wonderful performers, unbelievable performing artists in their very own methods. All of them had enormous presence on stage and a spotlight and sense for timing and referring to others and advantageous 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 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 ordinary strategies. And I am attempting to impress some new issues by this fashion of working.

Ádám: I used to be actually interested by this, particularly as a result of I draw rather a lot—lately or previously years, increasingly. And my arms shake. They shake much less and fewer, however they nonetheless shake. And it is one thing known as ataxia, which makes me do involuntary actions at random instances, particularly in worrying conditions however basically as properly. And it is known 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 admittedly health-intentional, however I can construct within the traces in my drawing. So, I can observe the traces 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 possibly can name this the inclusive method. 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’s, so we use it.

Ádám: Sure.

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

Ádám: Sure. Mainly, how large of an area any person leaves for creation is admittedly about being current to make a sound and to see what impact it has on you. You possibly can 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 dearth 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 whole management, that your physique is below your management—is an entire lie as a result of you will get most cancers and it kills you. However folks do not realize this as a result of they do not have sufficient expertise, and if any person turns to a handicap particular person, they’ve to understand that the system of being in management is fake. And perhaps I can dwell my life like this nevertheless it’s false. Interval. However I am saying this since you mentioned that you just turned to this type of work to completely be capable to perceive your physique, Fer. And principally, as a result of the folks with their disabilities, they encounter these ideas day by day—which is, I feel, for my part, is a elementary human expertise—however any person with ataxia encounters it far more. So if any person 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 whole lot of issues coming to my thoughts. That is Kata talking. Yoga is one in all them. Yoga works with the thoughts, for instance, and makes use of the physique solely in order that the physique may also 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 all the things too, on the identical 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 offered within the upcoming eve in Trafó in Might. And it is so attention-grabbing and so good to see what’s taking place within the group. Having a dad or mum say that their baby, who’s a member within the group, developed as a lot previously months of working with us throughout rehearsal as previously ten years of his life, it is unbelievable. This baby could be very restricted in his speech. And now, this dad or mum 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 folks transfer their our bodies stimulates what cognitively and emotionally occurs to them, and so they can actually discover themselves and develop into conscious of their worth and achieve unbelievable confidence by being in entrance of an viewers and performing in entrance of an viewers. Assembly oneself on this manner positively contributed to this particular person 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 liked 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 manner 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 is very comparable.

However COVID occurred, and COVID occurred very intensely till February, for instance. There was this large wave in previous November and in addition 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 properly. And it was not solely that improvisation occurred on the stage as a part of the piece but in addition 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 may make it to a rehearsal and even to a efficiency. This grew to become very spontaneous and created an unbelievable flexibility in us and the group. Though the piece has fairly a particular construction, it has a beginning and ending level, we actually grew to become far more versatile, and this was an additional improvisation on prime of the opposite improvisation. And now in our upcoming present, we’re additionally undecided who can 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 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 area to simply 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 properly. So inclusion occurs not solely among the many performers but in addition on the extent of the audiences.” So, that is the plan. It is a assertion about what we contemplate vital in dance. Clearly, it is not a basic method, however that is our go-to method.

And Ádám, what are you doing lately?

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 buddy, is doing a solo. And I can be in it, and in addition the dancer Gáspár Téri can be in it. And these aren’t in any manner associated to this matter. And going again to your expertise with the boy who may speak manner higher after working with you and the ArtMan group, I’ve a whole lot 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’ll 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 reducing bread by yourself. However onstage, your mother shouldn’t be there, so it’s a must to reduce the bread. And in case you are entering into the sunshine, it’s a must to take the duty. And also you’re within the gentle. There is no one else there. You can’t rely upon anyone else, like within the deep sea however within the great way, once 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 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 had been essential experiences. And when it’s a must to say a sentence 100 instances per week, you understand that you’ve got an impact, and also you meet your self in a extra direct manner. And I’ve an excellent 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 area, the relationships are completely different and various things are doable than outdoors of it. And it’s doable that issues occur there that will not have been doable 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 , utterly 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 forms, once more, is that my signature isn’t the identical. So due to the ataxia, you possibly can 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 inconceivable to pretend them. You realize, you’re taking ten of my signatures and you’ll see that it is accomplished by the identical particular person. 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 kinds and having to take care of forms with ataxia. And I simply wish 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 superb folks. And likewise whereas translating this podcast, we needed to pay attention once more to the speak and type 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 superb 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. Make sure you search HowlRound Theatre Commons podcasts and subscribe to obtain new episodes. In the event you liked this podcast, put up a ranking and write a evaluation on these platforms. This helps different folks discover us.

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