Unparalleled unanimous enthusiasm, several Hungarian and international prizes welcomed Anna Réti’s first independent choreography entitled Soul without a Sweater. Graduated at Pécs and the Rotterdam Dance Academy, Miss Réti is primarily known as an exciting performer in the company of Attila Kun and Réka Szabó. Her work Castle of Cards is a play that depicts parent-child and speech-movement relationships with special tools. The second duet of the production, performed by Anna Réti and Júlia Garai, was created by the dancers and Adrienn Hód. The three ladies claim their original idea was the following: “There I am at the zebra crossing, with a Boomerang bag in my hand – already as an adult – and nobody will let me cross. I remember myself grabbing my PE bag decorated with a ladybird, and running across the same zebra without thinking for a minute. Do I have to make the move again?”

An electric cello and four ladies in black dress stand in an empty white space without casting a shadow. They are four lonely birds that are removing the physical and emotional boundaries between them with increasingly fast and complex movements. First performed in 2002, Yasmeen Godder’s choreography digs deep into human relationships by presenting the intricate links between the four women in Sudden Birds. Godder, who was born in Jerusalem, raised in New York City and currently lives in Tel-Aviv, is one of the most talented young artists in contemporary dance art, and will come to Budapest for the fourth time. She has appeared in several prestigious venues of modern dance such as the Kitchen or the DTW Theater. In 2002 she was the recipient of the Bessie Award in New York.

Unparalleled unanimous enthusiasm, several Hungarian and international prizes welcomed Anna Réti’s first independent choreography entitled Soul without a Sweater. Graduated at Pécs and the Rotterdam Dance Academy, Miss Réti is primarily known as an exciting performer in the company of Attila Kun and Réka Szabó. Her work Castle of Cards is a play that depicts parent-child and speech-movement relationships with special tools. The second duet of the production, performed by Anna Réti and Júlia Garai, was created by the dancers and Adrienn Hód. The three ladies claim their original idea was the following: “There I am at the zebra crossing, with a Boomerang bag in my hand – already as an adult – and nobody will let me cross. I remember myself grabbing my PE bag decorated with a ladybird, and running across the same zebra without thinking for a minute. Do I have to make the move again?”

An electric cello and four ladies in black dress stand in an empty white space without casting a shadow. They are four lonely birds that are removing the physical and emotional boundaries between them with increasingly fast and complex movements. First performed in 2002, Yasmeen Godder’s choreography digs deep into human relationships by presenting the intricate links between the four women in Sudden Birds. Godder, who was born in Jerusalem, raised in New York City and currently lives in Tel-Aviv, is one of the most talented young artists in contemporary dance art, and will come to Budapest for the fourth time. She has appeared in several prestigious venues of modern dance such as the Kitchen or the DTW Theater. In 2002 she was the recipient of the Bessie Award in New York.

Founder of the KompMánia, dancer and choreographer Márta Ladjánszki appeared on contemporary stages exactly ten years ago. For five years now, as a member of L1 Society of Independent Dance Artists, she has worked independently, and excelled in selecting fellow dancers for herself. Miss Ladjánszki has become particularly known for her moving and confessionary solo acts that often addressed taboo issues. Her works have been met with considerable interest on the international scene as well: she tours abroad possibly the most frequently from among Hungarian contemporary dance artists. Miss Ladjánszki’s new piece was premiered at a high-profile international festival in St. Petersburg called Body Navigation in June. Examining the concept of collective solitude in her present phase as an artist, the power and the credit of her stage personality will again be shown in a threesome production in her jubilee year.

Founder of the KompMánia, dancer and choreographer Márta Ladjánszki appeared on contemporary stages exactly ten years ago. For five years now, as a member of L1 Society of Independent Dance Artists, she has worked independently, and excelled in selecting fellow dancers for herself. Miss Ladjánszki has become particularly known for her moving and confessionary solo acts that often addressed taboo issues. Her works have been met with considerable interest on the international scene as well: she tours abroad possibly the most frequently from among Hungarian contemporary dance artists. Miss Ladjánszki’s new piece was premiered at a high-profile international festival in St. Petersburg called Body Navigation in June. Examining the concept of collective solitude in her present phase as an artist, the power and the credit of her stage personality will again be shown in a threesome production in her jubilee year.

Hiroshi Koike founded his company twenty-five years ago, and named it after the Tarahumara, a North Maxican Indian tribe that is famous for acrobatic tricks and ritual sports. His physical theatre formation, which has not appeared in Hungary before, is an internationally recognised company, known for their spectacular and invigorating works that create a novel blend of Chekhov’s Three Sisters uses the play as a starting point only: the three dancers happen to be women, and they might as well be sisters. Hiroshi Koike moves the story to Japan in the 1960s, and the three heroines appear in three different stages of life: as naughty kids, then as tempting “teen demons”, and finally as serene young women entering adulthood. The story can be interpreted not only as a journey into the mystical, painful and unforeseeable period of womanhood, but also into the core of Japanese culture.

Hiroshi Koike founded his company twenty-five years ago, and named it after the Tarahumara, a North Maxican Indian tribe that is famous for acrobatic tricks and ritual sports. His physical theatre formation, which has not appeared in Hungary before, is an internationally recognised company, known for their spectacular and invigorating works that create a novel blend of Chekhov’s Three Sisters uses the play as a starting point only: the three dancers happen to be women, and they might as well be sisters. Hiroshi Koike moves the story to Japan in the 1960s, and the three heroines appear in three different stages of life: as naughty kids, then as tempting “teen demons”, and finally as serene young women entering adulthood. The story can be interpreted not only as a journey into the mystical, painful and unforeseeable period of womanhood, but also into the core of Japanese culture.