Staff
Choreography, concept, players, instruments and visuals: Medence Csoport
Solo motions: Brigitta Horváth
Pushing Quartet: Antal Bodóczky, András Gross, Gergely Magyar, Tóbiás Terebessy

Short description
5-6m long bamboo poles are used as instruments in the performance. They recall continuity through their monumentality and slow motion. Great humbleness, severity and deliberateness are needed to make them sound. The collaboration with them is experienced as magic on every occasion. Rhythmically emerging memories overwhelm our pliable reality depending on mechanic time. These memories are in fact the imperceptible vibrations of the friction between above and beneath.

One specific moment is enough to experience the permanent resonance of infinity. The aim of our experience is to revive the memory waves of sound, time, and motion discovered by us.

Details
“The inspirational appearance of Medence Csoport active in numerous fields can be considered as an exciting example of penetrability between artistic forms. Antal Bodóczky, András Gross, Gergely Magyar, and Tóbiás Terebessy are the members of the group which attracted attention in the architectural and applied art world with unusual buildings of bamboo poles (see: Balkon 2000/9), respectively with bamboo and metal-glass furniture. These young “craftsmen” have already presented their performance “Conforming to ground-plan” in Műcsarnok. Their partner is the same as at that time: Brigitta Horváth, a young dancer who is devoted to Japanese budo dance.

In the playbill the players simply refer to themselves wittily as the “pushing quartet”. During the performance they apprehend a not widely known feature of bamboo poles used comprehensively. The poles of two men’s height are pushed on stage evoking ghostly vibrato parts – the players handle virtuosic the occasional instruments. Throughout the performance continuous projections can be seen on stage: scratches, bubbles, and parts of the capital (Budapest Tunnel – Chain Bridge) are shown on the pictures. In the midst of rolling pictures and bamboo wood appears the dance. Colours awaken gradually: in the beginning we see on the stage clear of human presence only the calmly beautiful view of lying bamboo poles looking like glowing, enlightened by a light masked off. Soon afterwards in turn we defy the stream of pictures, sound and sight. The dancer on stage is almost vanishing. Her minimalist dance is suppressed by the fullness of the sight.

Brigitta Horváth adds to the sight as a (beautifully) moving setting: she moves shadows, intensifies the projected pictures; still our attention hardly gets to her dance. (According to my information, during the same performance held in Műcsarnok, she handled the captivating voice of the monstrous instruments difficult to manage as dance music – now she rarely connects with the slight noises.) The exciting performance of Medence Csoport slightly fits into the field of Inspiration focusing on dance, since the dancer was considered as minor character. However, it is a splendid example of a teamwork flouting the borders of different artistic forms. It is a magnificent instance of open, creative mentality wondering at each other.” – Tamás Halász, Balkon 2000/12.