How can aggression, sexuality, silence, vulnerability, interdependence and eternal human beauty all exist side by side? How can the language of dance be both serious and zany at the same time? How is the human body capable of communicating extreme thoughts and emotions? These choreographies from Jiří Kylián, Wayne McGregor and the team of Sharon Eyal and Gai Behar will shed light on the answers. Bedroom Folk, first premiered in Amsterdam, and Six Dances and Petite Mort, both set to the music of Mozart, have been captivating audiences at the Erkel Theatre for years. Since its 2006 London premiere, Wayne McGregor’s Chroma has been adopted by major European and American ballet companies. In the 2019/20 season, it also becomes part of the Hungarian National Ballet’s repertoire.
“This piece originally choreographed for four men and four women was, in one of the HNB’s performances (…) presented for five women and three men, in that répétiteur and stager Olivia Ancona was inspired by Kristina Starostina, who danced female and male parts at the same time. (…) It is a welcome development that the company and its dancer spurred Sharon Eyal’s colleague to innovate further.” (Bedroom Folk, Krisztina Horeczky, Tánckritika.hu)
“Throughout the piece, the dancers are lighted from above, as if the choreography were taking place from a different perspective. This made for a space of light cut out from the dark background in which the figures appeared, creating a remarkable aura around the dancers.” (Bedroom Folk, Borbála Várkonyi, Kultúra és Kritika)
“Six Dances means that the Hungarian National Ballet’s repertoire has (once again) been expanded with another piece that will be enjoyable for audiences. The opulent choreographic material and quality dancing might even have been enough to convince apostates that classical ballet training is not necessarily the same thing as the simple aesthetic of the finely developed body and that beauty (whether flashing its lyrical, tragic or more upbeat face) has a place in contemporary art.” (Annamária Szoboszlai, Tánckritika.hu)