During late 18th
century the idea (conceptualizing it in one short phrase) that art is the
manifestation of the genius and not the following of some rules. Thus, within
the medium of music, the source of individuality and unique voice that we are
thinking about when using this notion is the virtuosity of the composer itself.
In music, just like in dancing, it is impossible to talk about individuality
without referring to the unique imprint of an artist.
A reoccurring idea
in the works of Beethoven is that there is a tight relationship between the
personal style and the unique tone of the piece of art. He used this theory to
divide functional criteria from the conventions of creativity and represent
them in an unusual way.
This shortly
introduced characteristic of Beethoven’s music served the basic idea that
directed my choices in my cooperation with Szeged Contemporary Dance Company,
as I presumed the company owns a really strong, fascinating temperament that
flows through the rhythmic formula of the melodic artwork of Beethoven and
lives within us.
The dance I could
observe in the work of the company was always heading towards several
directions, as an impulse coming into existence on several levels, performed by
dancers capable of creating energy and space continuously... The music of
Beethoven provokes similar feelings in me and the encounter of Szeged
Contemporary Dance Company and Beethoven will become a suitable task for me to
sound this relationship. There is nothing abstract about this, it is merely an
encounter, in which two dynamic and unique voices are talking about themselves,
and probably about the theory of forms, where a concrete and formal idea is materialized
in a single piece of art.
Beethoven brings
air under the wings of the human spirit, which he masters with great wit. He
himself stated that form defines the unique voice of the play in its own
entity. For me it is an extremely interesting and important opportunity that I
can contribute to the performance of this company with which I share such
common thinking of dance. Of dance, which can sound the same impulse, the same
relationship with life on a different level.
(Mauro Astolfi)
Dancers: Gergely Czár, Vencel Csetényi, Laura
Fehér, Gábor Finta, Kitti Hajszán, Gergő M. Horváth, Kitti Palman, Krisztina
Szarvas, Zoltán Tarnavölgyi, Andrea Tóth, Flóra Zsadon
Music: Ludwig van Beethoven
Scene, costume: Zsuzsa Molnár
Lights: Ferenc Stadler
Assistant: Beatrice Bodini
Choreographer: Mauro Astolfi
IX. symphony
Besides its
important role in the world of music, the IX. symphony is a magnificent piece
of work also because it phrases ideas that are authentic up to today. Perhaps
the mutual message of Beethoven and Schiller has never been this important.
Aspiration after finding a universal, common intellectuality that bridges
countries, religions, cultural differences is more current than ever before,
now that the economic unification of the world seems to be feasible in the
future. The collective flaring of human spirit, soul and the unidirectional
efficacy of collective thinking has always been a dream for the humanist
thinker. Could this type of intellectual UNISONO be able to change our world,
our everydays? I believe so. But finding the collective lingua franca is not a
question of uniformity. The celebration of true consonance comes into existence
when impregnated with the liberation of individuality.
The joy of the
discovering our independent and human self.
(Tamás Juronics)
Dancers: Gergely Czár, Vencel Csetényi, Laura
Fehér, Gábor Finta, Kitti Hajszán, János Haller/Major László, Gergő M. Horváth,
Kitti Palman, Krisztina Szarvas, Zoltán Tarnavölgyi, Andrea Tóth, Flóra Zsadon
Music: Ludwig van Beethoven IX. symphony
Scene, costume: Zsuzsa Molnár
Film: Gábor Kovács
Lights: Ferenc Stadler
Assistant: Ágnes Markovics
Choreographer: Tamás Juronics
Friedrich Schiller: Ode ’An die Freude’
O Freunde, nicht diese Töne!
sondern laßt uns angenehmere anstimmen, und
freudenvollere.
