Now or never!

4 February 2019 | DCS2018

CALL FOR APPLICATION

Desiré Central Station 2019

We are happy to announce that the Kosztolányi Dezső Theatre has begun the preparations for its eleventh international regional contemporary theatre festival: Desiré Central Station 2019.

The organizing team of DCS 2019 is looking for performances to put in the program of the festival. We are looking forward to receiving applications until 31 August 2019, to the following address:

info@desirefestival.eu

or

Pozorište „Kosztolányi Dezső” – DCS 2019
Trg žrtava fašizma 5.
24000 Subotica
SERBIA

The application should contain the technical rider of the performance, the approximate costs of transportation and performance, and also a recording of the performance.

Best regards,
Desiré Team

20 November 2018 | DCS2018

HASSAN AGA’S WIFE

Novi Sad Theatre
HASSAN AGA’S WIFE
Based on the play of Ljubomir Simović
Directed by András Urbán

Hassan Aga’s Wife is an ancient story about love and pain, about men and women, about family. But Hassan Aga’s Wife is first of all a story about Woman. About women.

Yes, at the first sight it’s a narrative about the status of female persons in some Islamic state, but below the shiny skin of modern, civilized societies the status of women is not much better. Into the world of global and local scandals of abuse we bring an eternal story about the abuse of the universal Mother and the universal Woman. #metoo #hasanaginica

Cast
Hassan Aga’s Wife Márta Béres as guest
Hassan Aga Dániel Huszta
Pintorović Árpád Mészáros
Hassan Aga’s Mother Terézia Figura
Pintorović’s Mother Lívia Banka
Jusuf Attila Német
Suljo Gábor Pongó
Huso  Zoltán  Sirmer
Musa Dániel Gombos
Ahmed Róbert Ozsvár as guest

Set design András Urbán as guest
Costume Milica Grbić Komazec as guest
Composer Irena Popović Dragović as guest
Dramaturge Vedrana Božinović as guest
Assistant, translation Róbert Lénárd

85’

uvszinhaz.com

photo: Srđan Doroški

20 November 2018 | DCS2018

Dark Union

Josef Nadj – EN-KNAP Group (Ljubljana)
DARK UNION
Made after Canard pékinois
Choreographed by Josef Nadj

In 2017, Iztok Kovač, the EN-KNAP Group artistic director, extended his invitation to Nadj in hopes to see a revived version of Nadj’s first choreography, the legendary Canard pékinois (1987).

Later, when Nadj met the six dancers, it became clear to him that he wants to pursue the idea of isolating a single motive from the original work and thus making it possible to express different variations of a tragic and dark union. After the 30-minute version of the piece has premiered in June 2017, we were pleasantly surprised when Nadj approached us with a wish to continue to work with our dancers and make a full-evening performance. That is how the latest EN-KNAP production was born – Dark Union. This is definitely an exceptional compliment to EN-KNAP Group, to our mature, versatile artistic expression, as well as our physical ability.

For choreographer Josef Nadj, frequently described by the media as a stage magician, the revival of his first piece represents a birth of a new creative cycle – for the first time in his career he is stepping of the stage, behind the scenes and away from the stage lights, to give way to these six young interpreters. At the heart of Dark Union is a tragic story of newlyweds who only manage to live a few fleeting moments of happiness before the impermanence of life steps between them. Nadj and the dancers try to evoke the gloomy emotion accompanying this sad relationship, which became almost legendary in his home town. The event that Josef witnessed as a child acts like a projection in his choreography serves as a metaphor for the passing of time and eventually leads us to the beyond. Nadj sees this new work as an opportunity for the new generation to face the core subjects of the story. Interestingly enough, the new piece is much shorter than the original work, while its topic has become much wider – as if one wanted to immortalize the moment for eternity. Based on a personal story which transcends the subjective and, through artistic transformation, becomes an intimate mythology blossoming into a universal piece of art.

»For me, this piece symbolizes the long road I have walked as an artist; it is a sort of time machine. I did not anticipate returning to the beginning of my 30-year long career. It was Iztok Kovač, who invited me to collaborate with EN-KNAP, that ignited the spark in me to look back and try and find the essence of my earliest work once more. It was only with time and emotional distance that I understood what the essence of the piece actually is – in 1987 I wanted to tell a story that I experienced in my native Kanjiža, but now I realize that it was about this crystallized motive, which I portray in the revised version of the performance and which is, in fact, timeless. Consequently, the essence of the piece is able to manifest itself with incredible ease in this new reality, in the year 2018. The original story became only a small fragment of a much wider context. Sometimes I feel as if the piece itself was calling to me to be renewed and to include all my new experiences and gained knowledge. Its motive is charged with energy and this fact is manifest throughout the dance material. What we did with EnKnapGroup was an experiment which was like a miracle for me. It filled me with renewed energy, much due to the quality of the EnKnapGroup and its dancers, both mentally and physically speaking. That was what made this encounter work.« (Josef Nadj)

ABOUT THE AUTHOR
Understanding dance above all as a site for encounter – this is how Josef Nadj defines his work. Beyond his role as choreographer the man is in fact an artist without borders and without barriers. Dancer, but also visual artist and photographer, his vision of humanity is poetic and passionate.
Constantly in search of new forms. Ceaselessly willing to explore humanity as close as possible to human truth. Across his career, from Canard pékinois (1987) to Penzum (2017), Josef Nadj has relentlessly pursued exigent and passionate choreography where gravity and compassion take turns, where depth and humour alternate. Whether he is visiting atypical authors (Beckett, Kafka, Michaux) or bringing painting along on stage with him (in performance with Miquel Barceló), Josef Nadj flourishes in complete corporal freedom.  Oscillating between reality and fantasy, tradition and modernity, he explores the essential: man’s relationship with himself. Because for Nadj, dance is fundamentally a humanist act.
Over the years, the works of Josef Nadj have become references in contemporary dance. Beyond his national influence (Carte Blanche at the Grande Halle de La Villette in Paris in 2014; Associated Artist at the 2006 Avignon Festival that officially designated him as “creator without borders”), his work is recognized and celebrated around the globe. Enthusiastically received in nearly 50 countries, more than 400,000 audience members across five continents have appreciated his works in the most important international venues. Drawing his inspiration from the depths of the great myths of humanity, passionately intertwining both artistic disciplines and cultural references, Josef Nadj is elaborating a universal language. From 1995 to 2016, Josef Nadj has been director of the Centre Chorégraphique National d’Orléans. Since 2017, he living in Paris and working with his new company Atelier 3+1.

ABOUT THE COMPANY
10 Years / 26 Performances / Over 30 Authors
EN-KNAP Group, led by its founder, the internationally renowned choreographer and dancer Iztok Kovač, is the only permanent contemporary dance company in Slovenia. Since 2009, this ensemble of remarkable dancers has been based at the Španski Borci Cultural Centre in the Ljubljana-Moste neighbourhood.
Since its establishment ten years ago, EN-KNAP Group has worked with over 30 Slovene and international choreographers and theater directors of aesthetically diverse backgrounds, and created a repertoire of 26 full-evening stage works and a dance film. In addition to making over 50 domestic appearances per year, the company regularly tours internationally.

Performing
EN-KNAP Group: Luke Thomas Dunne, Ana Štefanec Knez, Jeffrey Schoenaers, Lada Petrovski Ternovšek, Matea Bilosnić, Gilles Noël
Music Csík Zenekar, Nagy József
Lighting design (based on the concept of Josef Nadj) Jaka Šimenc, Hotimir Knific
Costume design (based on the concept of Josef Nadj) Katarina Škaper
Rehearsal director Nohemi Barriuso

Executive producer Karmen Keržar
Translation Jure Škerl, Nina Smerkol
Technical manager Jaka Šimenc
Technicians Omar Ismail, Hotimir Knific
Costumes manufactured by Atelje d.o.o.

Supported by the City of Ljubljana – Department of Culture and the Ministry of Culture of the Republic of Slovenia.

55’

en-knap.com

photo: Andrej Lamut

12►

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HERO – 2.0

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365Falls

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DO FEAR ALLAH

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ICE-DOCTRINES

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Dictature

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Sea Lavender

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NOAH’S (NEW) MACEDONIA

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Doctor Faust

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Queendom

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Head First

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LAIBACH

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