Ponovo u „Bakelitu“ na golom perfomansu za golu publiku Marte Lađanski i Žolta Varge

Ovo je priča o drugom performansu Marte Lađanski kome smo prisustvovali. I ovaj se dešavao u MAC (Multi Art Centar) Bakelit u Budimpešti. Prva poseta Bakelitu je bila odlična i kod svih učesnika su očekivanja bila velika. I sama sam se dobro pripremila za spektakl o kome bih trebalo da napišem par redaka… Iskreno, za razliku od prvog puta, bila sam iznenađena prilivom informacija tokom predstave. Bombadrovale su me ideje, spoznaje, prihvatanja i shvatanja onoga što mi nemušto poručuju ljudi sa scene. Želela sam da u tom momentu imam ispred sebe tastaturu i odmah otkucam sve što mi stiže, sve od straha da nešto ne zaboravim ili pomešam… Svejedno, uživala sam u svakom trenutku. Radovala se. Disala sa njima… Bilo je predivno…

Nakon performansa prišla sam Marti da je pozdravim. Dočekao me je njen osmeh: „Zdravo Tanja. Da li mogu i ja da dobijem priču, samo za mene?“, bila je spremna da ću je napisati.  

Tanja: „Da, naravno. Svakako će mi trebati tvoja pomoć da sve uredim kako treba. Da li bi bila raspoložena da mi pomogneš?“

Marta: „Naravno. Čujemo se i pišemo.“

Kad je dobila tekst rekla je da je bilo interesantno čitati o čemu sam mislila tokom perfomansa i kakav utisak sam stekla, a ja ni do dan danas nisam sigurna da li je to bilo bar blizu onome što su Žolt i ona imali kao ideju kad su osmišljavali performans. Dobila sam originalni sinopsis, ona je poslala par sugestija kako da sredim sitnice, pa sam joj dala moj konačan tekst kako bi ona dodala mađarske nazive i tačno napisala imena, koja bi, zbog specifičnosti samog jezika, uvek trebalo da budu napisana u originalu. Kod Mađara se to jako ceni.

Tekst su pročitali Geza Lennert, Janoš Šandor (vlasnik Sikija i bivši predsednik FENHU), Roža Marakač (generalna sekretarka FENHU) i sadašnji mladi predsednik Kristijan Gabor i nakon doijenih pozitivnih ocena, zamolila sam predsednika Kristijana da ga pošalje u INF-FNI, kako bi bio objavljen u časopisu Focus, gde je Marta dala i zvanične fotografije. Tako je i bilo, na moje veliko zadovoljsto i radost.

Fotografije koje šaljem uz ovaj tekst su snimljene telefonima iz kola u toku puta, u polumraku MAC Bakelita ili mraku Budimpešte, i imaju vrednost jer govore o tom danu i odlučnosti učesnika iz Srbije da pređu preko 900 kilometara kako bi jedan tren u životu ostao zabeležen.

O tom trenu vi sada čitate…

Uživajte
Tanya


Naked Performance for Naked Audience
—Márta Ladjánszki, Again

We were here before, we remember some extraordinary people and memorable moments…

Dark November evening, Industrial Zone in the south of Budapest, old textile factory turned into modern Multi Art Center, spray-painted Bakelit logo inside metal door, steep industrial carpeted stares seemed steeper that evening, big painting set aside ground floor wall resembling nice street mural, artistic café on first floor, cozy environment, positive energy, warm indoor temperature suitable for undressing, discreet lightning, friendly faces of the people waiting to get in, drinks offered in small buffet, artistic postcards and flyers on café tables, announced participants, tickets obtained in separate room… We do remember ‘25/45’, but it’s new play now, new people, new expectations. Good old Rózsa Markács was expecting some familiar travelers from far distance to join Hungarian spectators…

The Play:

Undressing. Words of welcome in Hungarian and English by LADJÁNSZKI Márta & VARGA Zsolt, introducing themselves and the uniqness of their work. They offered the possibility that spectators could join them on stage whoever wanted to, one by one. About 10 people accepted.

The show started, lights changed and they were focused on the stage. Zsolt moved back to the podium, set down by the music apparatus and started monitoring slow and constant beat rhythm. Márta started dancing close to the people on the stage that were sitting on their towels, getting to know each other and asking for their response, sitting beside them, copying each other’s movements, positions, touching each other’s fingertips, laying beside… She was posting different question for every single one of them and she was receiving different answers. She communicated with them in silent mode, with almost no eye contact, and she was receiving different way of answering—a smile, a movement of a hand, a movement of an arm, copying in different form, no reaction at all…

She was emphasizing ways of communication, she was questioning how do we understand each other, how we are trying to improve our relationships, how we are dealing with what is coming to us, and how we are trying to make it work.

Improvisation was the vital part of the play. No one told the participants how to react, no one had the answer for ones that didn’t understand the question, but yet, the response was there. Every participant was responding differently based on its own experience, character, expectations, its own taste… Sometimes, she was the living mirror.

She brought all the participants together in attempt to climb on their joined hands, to test their trust, to test believing in each other, to test determination and strength of the mind and power of the body. This was an unexpected move for them, but she made it on the top, proving they managed to lift her up and support her body in victory position. They made it with their own bare hands, bare feet and bare bodies!

She floated on their hands, believing they will make her swim on their energy power, on their minds power, supported by their hope in happy future and by the fact of togetherness. They brought her down slowly on the floor, she glided down on thin air like on magic coaster, and rested.

Márta pushed them separately onto new spots and starts separate choreography between them, Zsolt joined them following the idea of the big climax! Loud intensive uniform sound from the saxophone made by him rose us all up! Did we touch the bottom of the whirlpool? How will we jump back to the surface?

Dancing by herself she emphasized people’s existence on the axes of human beings that we all are, and questioned the point are we stabile enough to stay in line with the others. She focused her movements on her hips and wide open arms.

Silence! Love and communication among people will survive!

She helped all the participants from the stage form a line in order to make big bow towards the audience sitting on the tribunes.

After the performance was over, all the participants were invited to discuss the performance and the experience.

*  *  *

The History of ‘Series of Dance Performances with/for Naked Audience’:

“12 years ago the NaVKE books a show of mine which was called ‘Withering Ecstasy—body is not taboo’. This piece was created for audience in textile but I found the idea (as creator) very interesting so we made it. And after this some other shows were booked by them as well. In the summer time we got invitation to Sziki but there we performed a work where we, performers were not naked. Also we got an invitation from Balatonbereny where we first tried out the structure of my work ‘silent witnesses’ without textile. So actually that was already a development in this. But to create a piece with and for naked audience was first in this series ‘Series of Dance Performances with/for Naked Audience’ in 2018 as we started this long term cooperation. Last year we had 3 shows: ‘BY the way_OFF’ the dancers in textile; ‘LetMeC’ (naked version) two times and in 2019 we premiered ’25/45′ at the end of March (which you also have seen—addressing to Tanya, editor’s remark) and again during L1danceFest 2019 in September and another 2 times ‘LetMeC’. Beside these we performed LetMeC (naked) open air in Balatonbereny and Delegyhaza and we had the first international debut with ‘LetMeC’ (naked) in Poland. So that is how far we got until now :-)“, said Márta Ladjánszki, the creator of the series.

Some pictures and story of both ‘25/45’ and ‘LetMeC’ you can find on NaVKE’s website:

http://navke.hu/index.php?main=program&lang=&year=2019&pr=tanc

Conclusion:

Nobody provided us with User’s Manual for life. There is no personal movie script. We all have to improvise. We’ve got to have trust in each other. We’ve got to test life.

Our own future depends on our own decisions, which lies in basic response of communication. This is what Márta wanted to tell us—Yes, go there, but be careful and follow the response. Play your play!

When one dances from within the soul, the world will recognize one’s heart!

Written by Tanya Stankovic, Sziki Naturista Klub

with the helping suggestions of the Artists

‘LetMeC with/for naked audience’
idea/creation/performer: Márta Ladjánszki and Zsolt Varga

Photo by Zozo/ NaVKE

 

 

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