Precedents to a Potential Future
This solo lecture-performance is continuously moving its center of perception, always switches its basis of representation. The performer describes memories, imagination, impressions, changes points of view in the story and tries to link her train of thoughts to the present moment. What is there that can not be seen? Which is the moment where we create meaning? How text, sound, image and sensations complete each other to make us understand a phenomena as “experience”? And how do these contexts define the experience of dance? A mixture of expressions creates narrative to a performance that is – or not – present.
choreography, performance: Anna Biczók
music: Vince Varga
costume: Emese Kasza (MEI KAWA)
light design and technical care: Kata Dézsi
photo credits: Katarzyna Chmura for CU17
Supporters: SÍN Arts and Culture Centre (H), Workshop Foundation (H), Ministry of Human
Capacities (H), The Hungarian Culture Institute in Warsaw (CZ), Ministry of Foreign Affairs
and Trade (H), Fundacija cialo/umysl (CZ), Hungarian Cultural Year of Poland 2016/17 (CZ),
Centrum Sztuki Wspólczesnej Zamek Ujazdowski (CZ), National Cultural Fund (H)
“Different layers intersect each other, one story permeates and summons the other, just as one movement usually evokes the next one. A singular play of virtual and actual dimensions is evolving, where potentials and real accomplishments are accumulating and slithering on each other. Through the sustained playing with that, narrative logic becomes instable, yet the belief in the world of contingent and coexistent shifting is strengthening.
This also opens up the possibility to subvert the usual linear-successive time-sensing. In fact, Precedents to a potential future denies reinforcing the honored position of the present. Moreover, present is postponed, a putative promise that may never come. Only the future and the past are circulating in an unpredictable order, in which time is choreographed as a movement.” (Zsuzsanna Komjáthy, dancefeed.org)
“Biczók takes the role of narrator – guiding us through a story of experience, first from her eyes, then from the eyes of the audience watching her watching us, then through the eyes of her mother watching her as we watch them both. It sounds more confused that it is, and thats on me and my lexicon. But Biczók has a commanding charge of the space around her – with robotic, almost violent at times, movement and expression. It makes me, and I suspect a few others in the audience, want to get up on stage and see it all from her side. But I guess that’s the point.” (Ed King, birminghamreview.net)
