A faun-like figure is the focus of the first solo of the night. Somewhere between the human and the animal world. Gilles Deleuze wrote in one of his essays, that “if I try to sum up what I find so remarkable about animals, the first thing might be that each animal has its own universe. This is so interesting or bizarre, because so many humans do not have their own universes and they live a life just like anybody else. Or rather, any life, for anyone. Not the animals. They have their own, authentic universes!”
How can someone have a world, a universe? How does our life become really authentic, our own? According to Deleuze, the key is heightened sensitivity and immediate action, which is also true of exceptional dancers. The title UN refers to Faun, and even more so to the universe in the philosophy of Deleuze, as well as un, the French word for one, which emphasizes that a single character/phenomenon/quality is the focus of the choreography.
The extraordinary creature in the first part of UN, occupies the space, immediately reacts to its changes, he depends on his environment. Today, in many senses of the world we are all dependent on our environments, and in the choreography of Pál Frenák this is literally true, as the dancer moves in a special space in a unique suspended net.
Following the emblematic MenNonNo, which has travelled the world, Pál Frenák choreographer finally returns to the stage as a dancer in a new piece in the second part of UN. The choreography is inspired by Japanese culture and the person and memory of Kazuo Ohno butoh master and artist. Playing with abstract, monochrome colors, the choreography speaks of new balance achieved over time, and creates a special fusion - referring the title: unity - of masculinity and femininity.