choreography Adrienn Hód
music editing Ábris Gryllus
costumes Anikó Németh and the creative team
light design Miklós Mervel
dramaturgy Ármin Szabó-Székely
premiere 16, 17 and 18 February 2017
co-creators and performers
Imre Vass, Emese Cuhorka, Csaba Molnár
Cosmogonist kitsch. It was a hard two hours that changed my everyday references. The piece could be shortened, I think, but yet, Solos infinity keeps beating in my personal time.Sisso Artner, Magyar narancs, 9. 3. 2017
By straining every nerve and sinew, Hód strives to create a performance that cannot be defined as a simple dance show, but as a common story between performer and viewer, where the audience cannot hide in the safe darkness of the auditorium, and the dancer must reckon with the reactions and existences of those sitting around them.
Csaba Králl, Revizoronline, 2. 4. 2017
There are performances and moments in theatre that fade with the final applause, others that are gone by the time we awake the next day, and some that may haunt us for days. And there are one or two which might, perhaps, end up staying with us forever.
Ákos Török, 7óra7, 18. 2. 2017
Adrienn Hód (b. 1975) completed her studies at the Budapest Dance School (Budapest Tánciskola) in 1997 and then danced actively up until 2010. She established the dance company OFF in 1995, followed by Hodworks in 2009 which had a residency at the Tanzfabrik in Berlin in 2011. She created the choreography for the Oscar-awarded film by László Nemes Son of Saul (2015) and has also been working on his new film Sunset (2018). Three of her productions, Basse Danse, Dawn and Conditions of Being a Mortal were chosen by the Aerowaves network as amongst the most outstanding contemporary dance performances. Her works have been nominated for the Rudolf Lábán Award on seven occasions thus far, winning it three times (2012: Basse Danse, 2014: Dawn and 2017: Grace), the last mentioned was featured at the Flora Theatre Festival in 2016. Her newest choreography Solos, that we are bringing to Olomouc was recently also awarded this prestigious prize. Her work is appreciated for its emphasis on an experimental aspect. In her productions, Hód focuses on the body itself, taking it out of its cultural context and placing it in an empty space. She creates intimate situations in which the dancers are offered space and given the opportunity to open up to their physicality. Hód is not afraid to work with the unknown: her method is based on improvisation that appears in a structured frame on stage.
Hodworks was founded by the choreographer Adrienn Hód in 2007 and brings together forward-thinking creators with their own creative and concentrated working methods. They focus on the human body itself, liberated from any mediators, limits, sets or props. Hodworks’ pieces, always moving in new and progressive directions, are the result of long, creative, corporeal research based on improvisation, shaped into a tightly structured form on stage. Hód’s choreographies display a delicately developed, fine, high-quality language balancing between exact and very abstract representations. These pieces stimulate the audience’s spirit and senses and invite us to question the known and open up towards the unknown and new. Hód is also greatly interested in experimental music. Their most acclaimed pieces include: 2008: What Are We Supposed to Do With Our Body? (Mit kezdjünk a testünkkel), 2009: Supra Hits, 2010: Daily Routine Series (Mindennapi rutin sorozat), 2011: Basse Danse, 2012: The Way My Father Imagined It All (Ahogy azt az apám elképzelte), 2013: Down (Pirkad), 2014: Conditions of Being a Mortal (A halandóság feltételei), and 2016: Grace.