In his new production, HIR-O, Pál Frenák tackles, more directly than ever, a key tragedy of Japanese culture and history – to which he is no stranger –, and offers an unconventional interpretation.
The performance is permeated by the philosophy of Japanese culture: in a simple, empty space, bamboos appear, the most natural material and instrument of daily life in Japan. In its natural quality, the dancers’ organic movement fuses with the crudeness and power of the bamboos: man and instrument become one, each other’s extension, in a continuous spiral motion.
Pál Frenák invited graduating students from the Hungarian University
of Dance to cooperate during the creative process, providing the new
generation not only with an opportunity to appear on stage, but also
with the experience of the manifold creative work the purpose of which is more than learning a choreography. Katalin Lőrinc is a unique presence on the stage – in all her immobility. She is the embodiment of the motionlessness that is the permanence of the perpetual process, a real motif of Frenák-motif.