FIUK
AND CSAJOK - At the Rose des Vents

2005

What if we were to go back to our primal
instincts? The first part of the diptych presented by Hungarian
choreographer Pàl Frenàk at the Rose des Vents starts
off with this question. Fiuk
(The Hidden Men) is about the
place of men in a castrating society that shuts up their instinctual
nature. The dancers open the door to the cage and let their savagery
express itself. As an inverted mirror image of this first segment,
the choreographer offers Csajok
(Credo Hysterica) as his second part, a world of women that plunges
us into reverie and chaos. Through his four nymphs on stage, the
choreographer attempts to show us the extent to which dreams, images
created by our unconscious, make up our entire being and perpetually
come back to us. Pàl Frenàk belongs to that generation
of choreographers who are able to achieve brilliance. His danced
discourse is full of images, gestures, clashes whose every blow goes
straight to the guts and the heart. The dance is often violent, made
up of bodies that crash into each other, that jerk as if overcome by
seizures. Nothing very rational in all of this, just extreme
sensitivity and an astonishing capacity to make bodies speak in order
to bring us face to face with the limits of the human being. In
addition to the dance itself, much care has gone into the sound and
light design and they do not fail to grab our attention. Pàl
Frenàk has a gift for offering us captivating melodies and
fascinating lighting. Feeling both uneasy and hypnotized, we cannot
take our eyes away from the stage. Going to see a work by Pàl
Frenàk means agreeing to participate in an unsettling
experience that, in the end, leaves no one completely unaffected.