Symbols
of “Twins”

Lublin
Cultural Centre Paper
2009. november

It
is very hard to understand the dance theatre. As we had little time
to talk with the artists we wanted to explain the crucial, for us,
things from that spectatle that is to say the meaning of inspiration,
the puppet and rollerblading.

With
Kristof Varnagy (dancer) and Gyorgy Ujvari – Pinter (artistic
manager) spoke Małgorzata Saniak and Marta Denis

Did
you choose Agota Kristof randomly ?

Gyorgy:
No, I think Agota Kristof is important for Pal Frenak, her
spirituality. Mainly in “Notebook” which was kind of a
starting point. In the sense that in Agota Kristof’s book there
is the loneliness of a child who tries to find a partner.

Kristof:
This book was not an inspiration, rather a motivation for a
choreographer. Because he had his own story from the childhood. This
was not a story from the book. In fact, there were other inspirations
like fo rexample people who Pal was working with. And that all was
the beginning of the spectacle.

Is
the choice relevant to that Pal Frenak is a Hungerian who works in
France like Agota Kristof ?

G:
Yes, it is also that. Agota Kristof was born in Hungary and later she
moved to France . And then she started writing in french so
“Notebook” was written in french.

K:
Yes their stories are quite similar. Both of them were born in
Hungary and went to France. They were emmigrants. And both of them
had similar childhood. So it is not only the book but also the story
of their lives.

What
was a symbol of this puppet in the spectacle ?

K:
The whole story was a show called MILAN. There was a puppet of a
human’s size and a dancer. It was like a human or just a
puppet. Because sometimes we loose the border between a puppet and a
dancer. But after there was an evolution of the show. Now we have a
second dancer. So now the story has changed. And now there are more
puppets. But I think it is not my job to explain that is what the
choreographer is for. Interpretations might be different but all are
right. It depends on a person.

G:
There is also a transcendental side of the puppet. Mainly when it
plays with the ball. It is a symbol of unity and the universe itself.
And as he plays from one side to the other like we are always divided
by the two sides It is a kind of transcedental figure of the twins
themselves who always struggle but were always stuck together as
well. So it is a fighting or a complementary of the twins.

K:
It is also about who is the puppet and who is the puppet master.

And
what about rolling-skating ? Is this a symbol of some journey or
maybe something completely different ?

K:
It can be a journey but it can be also be just a little game. We look
for each other we find each other. But in fact there are lots of ways
of reading it. So if for you it was like a journey, you are right. It
is not a written story. It is just emotions and ideas. And you can
have your own story. You have different experiance and I have
different. So we can read it in different way.

G:
Flying which is in the end can also be a kind of a depart, like
leaving the world. And always rollerblading is related to flying, to
fantasy and to imagination. And the twins go around and they look for
each other. And they look at the outside world, like they were
looking for something there.

So
the twins are different but the same?

G:
Yes, that is it. There is always a divergence and a similarity. And I
think that is very important.

Ok,
thank you.

G
and K:
Thank you.