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In 2016 L1danceFest is organized for the 15th time by the L1 Association as its annual main event. Since 2002 the festival hosted international guests only for one or two days. Then it has gradually managed to extend the length and scope of invitations to become by now a genuinely international dance festival, so far unique in Hungary. The originally 10-day long festival was shortened to a 5-day long event in 2006. Since then it has been providing a number of possibilities for international productions to debut and share the evenings with Hungarian artists and productions. Now we are in the making of our 15th Anniversary Jubilee therefore the festival became again a 10-day long event comprising of a three-day symposium, another three days of workshops, a day for Hungarian fashion design catwalk and three days of the showcase program. We are glad to share this momentum with You. This year the L1 Association in partnership with the Center for Arts and Culture of Central European University (CEU) organizes for the first time a symposium on performative arts. Join us and discover the possibilities of meeting experts and discussing the various fancy approaches together with present and former L1danceFests’ guests (artists and theoreticians) and CEU academics. Practice shakes hand with theory!


The symposium is free of charge and is led in English. Pre-registration is needed.



Collective work in performing arts; Collectivity in creating; Society and social choreography; Collectivity in western and eastern art Setting the theme by Ivana IVKOVIĆ (HR), Zsuzsanna SZÁLKA (H) CEU WEDNESDAY, SEPTEMBER 14


Change of paradigm in 15 years’ time; Change and evolution in performance topic; Ethics of the performance. Do we need any ethics at all?; Current politics of Visegrad countries and artists reaction to it. Awareness of the threats to democracy and comment or readjustment to it; Is contemporary new? What is new in the present-day performance theatre and dance and what is the “recyclation”; Role of the “design” in contemporary theatre. To create or to design? Setting the theme by Joanna LEŚNIEROVSKA (PL), Alexandra KOWALSKI (FR) CEU THURSDAY, SEPTEMBER 15


Constituting the identity; Who is the being behind the acting?; The doing itself is everything; Surface/depth Setting the theme by Eszter TIMÁR (H) CEU, Sanjay KUMAR (IND) CEU Main idea/curator: Márta LADJÁNSZKI (H) Co-organizer: Karolin BENKŐ (H), Lilla FÖLDY-MOLNÁR (H), Noémi KOVÁCS (H) Graphic design: Anna KOROLOVSZKY Main supporter and partner of the symposium: L1 Association, CEU, CEU CAC, EMMI, NKA Partner organization of the symposium: Austrian Cultural Forum, Croatian Embassy in Budapest, Embassy of Denmark in Budapest, Estonian Institute in Hungary, French Institute in Budapest, Israeli Embassy in Budapest, Israeli Cultural Institution in Budapest Media partners: Pesti Est, Magyar Színházi Portál, táncélet.hu, Táncművészet, Tánckritika.hu, Félonline.hu, IAM


09 13

COLLECTIVITY IN ARTS 13.40 Opening performance

photo: Christine Borch


4 Concept, performer: Christine Borch Supported by L1 Association, Embassy of Denmark in Budapest Christine is going to sing some of her own compositions and take part in the symposium sharing from her Life Art Study. As a contemporary nomad Christine lives and works in her yurt, moving it around on invitation or by own calling. Her topics are circling around states of Being at Home, in our Body, on the Earth, in the Cosmos.

Opening Speech

Márta LADJÁNSZKI (H) artistic director of L1 Association / L1danceFest by

14.00 – 15.10 Session 1 and Open Discussion Setting the theme:


AESTETICAL AND POLITICAL CONSTELLATIONS We live in the age of increasing pressure on artists (and a wider cultural sector) to justify their position in contemporary capitalist society, through community work, social work, therapy work... – all those social services that are deteriorating in our former-West and former-East societies in Europe. And we increasingly live with a demand to not only engage in society as artists, but do so as political activists – “artivists”. Some argue that theater has fallen to a peripheral aside in contemporary society. I believe its political potential may be in the space it offers the audience to experiment with ways of viewing, with imagining oneself differently when confronted with a live-posed question, and possibly with our own role in society, our own citizenship. Artistic work is intrinsically a temporal constellation that opens up aesthetical and political potentiality in our contemporary society, a condensation of time and space,

session 1

Christine Borch (DK)

13.50 – 14.00

Zsuzsanna SZÁLKA (H) In more traditional performance settings audience usually experience a composed and arranged performance, live installation or choreography. Although there is always an intention to improvise on stage, usually the presentations are a creative product of a single or group of artists or a result of a previously improvised - but by the time of the performance- arranged piece. Through the presentation of two different live collective composition and performance practice on stage: choir improvisation and soundpainting, I would like to look into the relationship of the performing artists within the group and the relationship between the artist and audience during these collective creative processes. In what way are these performances meaningful and interesting to the audience, while a composed performance could always be more structured and complex? In what ways are these two comparable to each other? How is it possible to present a high quality of arts in these on stage improvised collective performance?

15.10 – 17.00 Session 2 and Open Discussion Perspectives from Practice:

Marie-Louise STENTEBJERG & Ida-Elisabeth LARSEN (DK)

THE QUALITY OF BEING COLLECTIVE How to practice collectivity without dying? Through our duo-practice we have arrived to a point where we wish to give ourselves over to the idea of an expansive inter-connectedness, which allows us to perceive a more direct contact with everything that surrounds us. Collectivity is then a constant factor, a quality of being, rather than a priority or choice. From this understanding we attempt to develop shared practices that allow us to access the other and for otherness to enter us via the extra-sensuous plane. Through meditative and trance inducing states we are experimenting with a shared virtual energy and space. Collectivity is for us about expanding the understanding of self, as a crucial alternative to the current concepts of Individuality and Mass. Social collectivity causes a lot of small “deaths” in its aim for consensus and its reproduction of recognized relational forms, which can enforce moments of stagnation and have draining effects. By approaching the relationship between psychic energy and physical form we look for ways to embody energetic notions of transferability and exchange. This requires a radical commitment in the energetic body in which even death becomes a transitory event rather than a finality.

session 2

projected and in-progress, work and non-work, artivist and amateur. The political stake of performing arts theater and dance alike - is not to present a different social reality, nor to keep audiences busy with faux sociality, but rather to stage the existing social reality under different terms. And one artist can’t do this alone.


17.15 – 18.15 Workshop with

two-women-machine-show (Marie-Louise STENTEBJERG & Ida-Elisabeth LARSEN) (DK)


– how to practice collectivity without dying? (see description above)


18.15 – 18.30 Closing Remarks 19.00 – 19.30 Performance by


SONGS AND STORIES Music performance by Oleg Soulimenko & Jasmin Hoffer Supported by Austrian Cultural Forum An ode to the mythos of the pop/ rock songs between cultural heritage and private memories. A music performance based on stories and songs. Songs which are well known and are inscribed in our memories. We cover songs by bands like the Beatles, Iggy Pop and the Stooges, Pink Floyd, Depeche Mode, Kraft-

werk, Clash accompanied by simple the folkloric balalaika, kids music instruments and sound objects. We tell stories about the context in which these songs were written and performed and our personal relation to them. Two different cultural contexts and two generations. photo: Elena Kristofor


16.15 – 16.30 Coffee Break






09 14

session 1

RESPONSIBILITY AND POLITICS OF CULTURE 14.00 – 15.10 Session 1 and Open Discussion Setting the theme:


Contemporary choreography as a tool for changing the world?

In the times of crises of democracy, can this “most democratic of arts” as it is often referred to provide us with some special remedies? Deliver alternative scenarios?


Choreography as a space of possible abolishment of Rancière’s paradox of the spectator. A space where the usual opposition between watching and acting has been surpassed. A space where instead of being a passive voyeur, the spectator becomes emancipated equal creator of the meaning. A space where on principle, a single predominant meaning got forsaken in favour of equally valuable multiple readings. A space where the activated, exploring, experimenting, and most

of all, experiencing spectator does not succumb to the opinions and arbitrary judgements of others, so as not to surrender – as cautioned by Rancière – to any authority, constraint or oppression. Choreography as a space for a (yet/ still) possible community of individually perceiving, creating, interpreting and acting members. Persistence in cultivating of (autonomous) choreographic art as a form of resistance. Contemporary choreographic practice as an essentially political gesture. For over a decade such choreography has been in focus within the Old Brewery New Dance program in Poznan. And at the time when once again we seem to need Utopias more than ever, here we ask again: Can contemporary choreography change the world? Does art have such a power at all? Can we ever succeed in such mission? and Are we ready for it?

Alexandra KOWALSKI (FR)

Arts and Performance After Cultural Policy

The decline of public funding hit the arts hard, drawing artists in a precarious world of unpaid work and ever more uncertain careers, and deepening inequalities between a global elite of stars and masses of

session 2

struggling creators. How has economic and cultural globalization affected the artistic field? What has been its impact on the politics and the ethics of aesthetic production? What is the place of art, and within it of performance art, in the new society? Such are some of the questions we will seek to answer collectively. 15.10 – 17.00 Session 2 and Open Discussion Perspectives from Practice:

Gerzson Péter KOVÁCS (H)

Is there a get-out?

The extent of the social respect and backing of the arts – and artists – mainly depends on the structure of the society, that essentially influences the consumption behaviour of culture and that establishes the actual conveniences, sovereignty, societal engagement and conflict-capacity of the artists. The social support of the contemporary arts, compared to the number of the all-time population of Hungary, though oscillated, proportionally was – as it is now – vanishing. Their self-supporting capabilities are near to the zero, their position is vulnerable, the existence of certain tendencies of different art forms, the artists and institutions who create and represent them traditionally depend on the goodwill and actual culture-policy of the governments – and the actors of the cultural sphere are geared to the circumstances. I will review the historical and recent causes of the phenomenon, and I

will offer you for a common consideration the question: are there any techniques to get out from the vulnerability?


Between Communication and Aesthetics: Tendencies and Changes in the Indie Performance Community in Prague 2001 – 2016

What is more important for independent performing artists: the freedom to experiment formally, innovate and break down old barriers? Or dialogue with neighbors, city, and society through their arts projects? Or a commitment to the “perfect product”? Since 2001, the model approach of Prague’s independent performance community has largely shifted from the first priority to the second and third. What has driven this change? Comparisons with western European performing arts practice? The adaptation of societal engagement arts movements? Or perceived threats to democracy, the open society and by extension, indie arts communities themselves? And how does this compare with developments in other such Central and Eastern European communities?


09 14

Interactive sound installation


“Every body perseveres in its state of being at rest or of moving uniformly straight forward, except insofar as it is compelled to change its state by forces impressed.” Sir Isaac Newton 17.15 – 18.15 Workshop with



What do we have in common and where are our differences? How can I share my responsibility with you? In our workshop we will play a constellation game relating to culture and politics and society.


18.15 – 18.30 Closing Remarks



a short solo by Karine Ponties from the Scarecrow Cycle Conception, choreography: Karine Ponties (FR/BE) Interpretation: Jaro Viňarský (SK) Original music: David Monceau Supported by the Ministry of Culture of Fédération Wallonie-Bruxelles, Service danse, Wallonie-Bruxelles Théâtre/ Danse, French Institute Budapest “(This piece) was a wonderful display of dazzling delicacy. Alone on stage, accompanied by the original music and soundtrack of David Monceau, one dancer, Jaro Viňarský, carrying a long bamboo stick across his shoulders suggestive of the curved horizon, was a scarecrow of the fields put to dance by Karine Ponties. Tossed by the wind, thrown to the ground like a rag or rising like a flame, this funambulist performed a mad pantomime that amazed and elicited admiration.” (Jean-Dominique Burtin, La République du Centre, December 2008)

photo: Jean Pierre Surles


19.00 – 19.30 Performance created by


16.15 – 16.30 Coffee Break with Interactive installation by







09 15

session 1



14.00 – 15.10 Session 1 and Open Discussion Setting the theme:

Eszter TIMÁR (H) I’m enthusiastic about the upcoming Symposium on Collectivity, Responsibility, Performativity for several reasons: I am excited that CEU will host an event which will start the exploration of possible conversations concerning the political role of the performative arts in civic engagement in a world where this role is increasingly made difficult by funding policies in general—and I hope that these conversations will continue and help create a community interested in fostering the culture of collectivity and responsibility and yield future forms of collaboration. Part of my own research focuses on the negative bias of theater in the modern philosophy of democracy according to which the mask represents dissimulation and inauthenticity and is an obstacle for true democracy. Far from accepting this metaphorical use of theater, I’m interested in the ways performance can make us see a general theatricality in our social-emotional life and thereby can urge us to be emotionally invested in changing our own political habits. Especially during a time when representative democracy seems to be in increasing crisis, and especially in

a region where “proper” democracy is not considered to have a strong foothold, I’m interested to see what the performative arts can teach us about ways to strengthen civic engagement and renew our senses of a responsible collectivity.

Sanjay KUMAR (IND) I am primarily interested in the philosophical and theoretical underpinnings of theatricality as a heuristic tool especially in reading urban performances. I am currently engaged in exploring the use of theatre/theatricality as a mode of narrative in shaping the discourses about identities in contemporary urban spaces, in particular among refugees, migrants and asylum seekers as they challenge the existing paradigms of belonging and otherness. As a beginning, I facilitated a pilot one semester course -Building Narratives- engaging with refugee/asylum seeker students in Budapest in Spring, 2016. The course explored modes of storytelling, sharing of narratives and was an attempt to build a community through theatrical and performative practices. The symposium on Collectivity, Responsibility and Performativity is of special interest to me as I am thinking through the possibilities of an interface between academic discourses on theatricality and cultural practices especially in the contemporary urban spaces. A more nuanced critique of the role of theatre in civil society is not only relevant but also highly essential in rethinking our current paradigms of participatory democracy and civic engagement.

Perspectives from Practice:

Hester CHILLINGWORTH (GB) In the post-dramatic performance landscape, where characters are rare and a lot of the people we see on stage are ‘themselves’, how does the idea of mask still function? And how can it allow us to push even further into the ‘real’ and into the present moment in performance? Where is the risk, the problem, the danger in hiding behind a mask?

act of suspending the human body from hooks pierced through the skin). It proved to be a powerful experience and it soon turned into a passion, and a tool for my art. At the moment I practice it monthly in a private setting and created several performances, giving it context and a personal point of view. 16.15 – 16.30 Coffee Break

Borbála SZENTE (H/D) Each time I create a new piece, be it a large group project or a smaller solo performance, I am willing to show something very personal and intimate to the public, and I try to keep an open and experimental mind to push myself and my audience towards the unknown. My focus is a mixture of extreme performance art, theatre, bizarre freakshow and contemporary dance with a personal and humorous twist to it, a playful approach to themes I find important in my personal evolution. I haven’t had any formal education. My mind was untouched and pristine before I went to Berlin and got completely perverted by the underground. In the summer of 2014, after my funeral performance I felt an urge to go deeper, go further through my physicality into the unknown. There was a strong desire to open my skin and see my own blood. I decided to try body suspension (the


photo: Stef Bloch

session 2

15.10 – 17.00 Session 2 and Open Discussion



17.15 – 18.45 Workshop with

Andrew HEFLER (USA/H) When you’re worried about what others might think of you, your personality takes over. This self-consciousness can hinder actors from doing genuine work. Masks are a great way to alleviate this disconnect. Masks seem exotic or strange when first exposed to them. In short time it can be realised that their silence and deliberate physicality reveal very emotional and identifiable states. It is much like any character building process for actors but the audiences’ opportunity to fill in the emotional blanks is exaggerated greatly and the effect becomes truly unique watching a mask. Andrew Hefler will lead a brief introduction into full mask work. As a participant you will examine some of the physical techniques that best suit mask acting, the timing and techniques that activate the audiences’ fantasy and experience. We will look a bit at how too dress them and see some brief improvised scenes with the masks on stage. 18.45 – 19.00 Closing Remarks 19.00 – 19.10

Closing Speech

by Márta LADJÁNSZKI (H) artistic director of L1 Association / L1danceFest

10 days long anniversary event included Collectivity/Responsibility/Performativity Symposium on performative arts; Workshops; Concerts; Films and Showcase program with artists from 22 countries: Austria, Barbados, Belgium, Canada, Croatia, Czech Republic, Denmark, Estonia, France, Germany, Great Britain, Hungary, Israel, Italy, Japan, Mexico, Norway, Poland, Russia, Slovakia, Switzerland, United States of America info: www.L1dancefestival.blogspot.hu

Invited guests

Triinu ARON (EST)


is a founder and has been the Managing Director of STL (Sõltumatu Tantsu Lava) since 2005. Her previous working experiences are from Art Museum of Estonia. She advocated her Master thesis in “Art Product and Its Value in an Estonian Culture Environment Context”. She was one of the founder and now a member of the Estonian Dance Roundatable. STL is a membership union for dance artists and organization in Estonia. Sõltumatu Tantsu Lava is the hall build up to take the responsibility for the dance activities. It serves the residencies with administrational and technical support and professional feedback by local cultural authorities and other artists active around the house. STL takes on the challenge to become an innovative melting pot and an open platform for the new generation of choreographers who believe that art can never be done with. www.stl.ee

Tamás BAKÓ (H)

after finishing his dance education started to work at the Budapest Contemporary Dance Academy, giving contemporary dance and contact improvisation classes. He was guest teacher at SEAD, La Manufacture or at Kontakt Budapest Festival. Recently he has been participating in labs and workshops, researching the artistic and pedagogical aspects of contemporary dance at Búvár kör, Nyitott Tér, Tánc Zóna, T.T.T., IDOCDE.

photo: Szabo Roland

Orsolya BÁLINT (H)

is a columnist and critic of the leading Hungarian cultural weekly Vasárnapi Hírek, where she has been writing movie, media and more recently dance reviews for 13 years. As a member of L1 Association of independent artists, she is a regular contributor to L1danceFest, the one and only annual movement-based performing arts festival in Budapest, Hungary. Since 2014, she has been leader and editor of the Critics’ Self-educating Workshop KÖM by L1 Association. Together with other KÖM-members she visits international dance festivals and workshops, writes reviews and interviews in English for their blog, working towards establishing a new vocabulary in dance writing and a progressive & positive way of criticism. She also regularly leads open discussions with choreographers and performers to start a dialogue and a collective thinking between artists, critics and the audience. www.dancescript.blogspot.hu

Karolin BENKŐ (H)

is managing cultural events at Center for Arts and Culture, CEU since 2011. https://cac.ceu.edu


photo: Claire Haigh

photo: Christine Borch

Christine BORCH (DK)


is a choreographer, dancer, singer, songwriter, spiritual midwife and light warrior living as a contemporary nomad. She has been studying choreography at Dartington College of Arts (England) and at HZT Ernst Busch (Berlin). Furthermore she has been researching in Japan with dancer and director Min Tanaka around body and nature. She presents her ceremographies, songs and workshops throughout Europe grounded in her own lived female experience and drawing from all aspects of her Life Art Study inspired by Somatic Movement, Contact Improvisation, BDSM, Tantra, Continuum, Tao Yoga, Performance Writing, Permaculture & Shamanism. www.christineborch.com


has a First Class degree in English from Trinity College Dublin (winning the Gold Medal for Outstanding Academic Achievement) and an MFA in Directing from the University of California. She also has a diploma from the New York Film Academy. Hester is the Artistic Director of UK-based GETINTHEBACKOFTHEVAN contemporary performance company, whose work has toured nationally and internationally since 2010. Hester has worked as Director’s Assistant and Project Director for Forced Entertainment since 2009 and also assists Tim Etchells in his solo visual arts practice. Hester has taught at many of the UK’s top drama training institutions: Guildhall School of Music and Drama, London Academy of Music and Dramatic Art, Royal Central School of Speech and Drama, Oxford School of Drama, Birmingham School of Acting, East 15 Acting School. www.getinthebackofthevan.com



has been working as the head of the Center for Arts and Culture (CAC) at Central European University since 2011, but working for CAC since 2003. CAC organizes 40-50 events in an academic year and is committed to promote artistic creativity in the university by presenting contemporary art works connected to issues taught and studied in the different departments of the university, and by providing CEU students, faculty, staff and alumni with the opportunity to exhibit and present their artworks. Having graduated in Law (2001) and Hungarian Language and Literature (2003) at the University of Debrecen and in Interdisciplinary Historical Studies at Central European University (2011), she studied Drama in Education, and gives Drama in Education classes to teenagers in schools and summer camps as a volunteer. https://cac.ceu.edu

is the founder and artistic director of Grund Színház. He has conceived and/or staged well over a dozen short and long form improvised shows. Currently a member of Madhouse Theatre Co. performing at the National Theatre of Hungary for 10 years. He has acted in numerous films and television shows as well as a wide performing a variety of voice work. Andrew has trained actors, directors, writers and a variety of professionals in improvisation and communication skills for over 15 years. Has studied with improv greats such as Gary Austin, Charna Halpern, and extensive work with Keith Johnstone not to mention many others and lead courses at theatres and universities from Los Angeles to Berlin and in between.


photo: Tomislav Medak

Jasmin HOFFER (AT)


is a dancer and performer based in Vienna. She studied painting at the Ortweinschule in Graz and dance at the Scottish School of Contemporary Dance in Dundee. She finished her MA in Dance Dissemination at the Hochschule für Musik und Tanz in Cologne in 2015. Jasmin was presenting her own work and working with choreographers like Willi Dorner (A), Evgeny Kozlov (RUS), Oleg Soulimenko (RUS/A), Márta Ladjánszki (H) and Tomas Danielis (SK/A). She performed and taught in Austria, Germany, Italy, Palestine, USA and Russia.


holds an M.A. from the Department of Dramaturgy at the Academy of Dramatic Arts in Zagreb. She is a member of the editorial board of Frakcija Journal for Performing Arts and has published in other publications (Maska, The Drama Review, TkH…). As a member of collaborative theater company BADco. she has co-authored a series of artistic projects since 2004 including “Responsibility for Things Seen: Tales in Negative Space” presented at the 54th International Art Exhibition – la Biennale di Venezia in 2011. She regularly holds workshops and presents at international festivals, symposia and conferences. www./badco.hr/authors/ivana

photo: Szabo Roland

photo: Hapak Péter

Gerzson Péter KOVÁCS – KGP (H)

is a choreographer, visual designer. He founded his contemporary dance company called TranzDanz in 1987. The company is constantly evolving by inviting always the most talented soloists and artists of classical ballet, contemporary dance and folk dance. His accompanying musicians come from various fields of the musical world: electronic noise music, neoclassic contemporary, acoustic ethno-jazz, innovative DJing, folk music and early baroque. He has worked at the Hungarian State Folk Ensemble for eight years until 2013 as a co-director, choreographer and visual designer. KGP is the co-founder of the MU Theatre, from 1994 to 2002 he was its Artstic Director. KGP was the Hungarian representative person for eight years (until 2013) at the Aerowaves, later he was the Performing arts curator at the NKA (National Cultural Fund of Hungary) until 2013. He is the member (former president) of the Fellowship of the Hungarian Choreographers and the member of the Dance Committee (also the first president from 2011 September until 2013 February). www.tranzdanz.hu

Noémi Anna KOVÁCS (H)

has been working at the Academic Cooperation and Research Support Office of CEU since 2009. Being a European Cooperation Projects Officer she is responsible for the management of EU Horizon 2020 / Marie Sklodowska-Curie Actions research and mobility projects, Erasmus+ higher education projects, various fellowship programs and the central management of Teaching Development Grants and Undergraduate Summer Conference Funds. Besides the professional career she has been dancing since the age of 5. Danced on stage in various contemporary groups and companies and became permanent member of the L1 Association in 2011. www.L1.hu


photo: Vegel Daniel

Alexandra KOWALSKI (FR)


is Assistant Professor in the department of Sociology and Social Anthropology at CEU. She is also teaching faculty and board member in CEU’s new Cultural Heritage program (MA). She holds a PhD and an MA in Sociology (New York University), and an MA in Philosophy and Epistemology of the Social Sciences (Sorbonne-Paris-IV). She was most recently a Fung Fellow at the Institute for International and Regional Studies at Princeton University where she was in residence from 2014-2015. Alexandra’s research explores the intersection between power and culture in modern history, with particular focus on the state processes and mechanisms that constitute cultural wealth and symbolic value. The history of governmental intervention in the cultural sector is therefore a favorite site of investigation. www.ceu.edu

Sanjay KUMAR (IND)

is a faculty at Central European University (CEU), Budapest. He teaches academic writing, courses in History of Ideas in South Asia, South Asian performances and culture and is also the founder and convener of the CEU South and Southeast Asian Studies (SASEAS) research group. He is currently piloting a pioneering course on Theatre-Building Narratives: Self-expressions through theatre and performance with refugee students under the CEU academic Initiative for Refugees-Olive Academic Course. Sanjay’s PhD thesis (2010) from IIT, Delhi analyzed contemporary Indian urban theatre through the theoretical framework of theatricality as a conceptual tool in reading the urban through theatre. Sanjay’s research interests are Indian theatre, theatricality and urban studies and Indian Literatures in English. www.ceu.edu

photo: Tamar Lamm

photo: Szabo Roland


is a dancer, choreographer, teacher, artistic vice president of L1 Association based in Budapest (H). After learning classical ballet, gymnastics, jazz and modern dance in Hungary and in Vienna, she has co-founded KOMPmANIA Contemporary Dance Theatre (1996) and she worked there as dancer and co-creator until 2002. Beside this Márta had her own works mainly in Hungarian projects and started her solo carrier, won several prizes, mainly abroad. After her solo career she extended her focus on other artists as well and invited them to join her creative processes which pay attention on space, colors, forms, visuality, individuality, honesty and partnership in movement and in the music as well. In 2001 she was invited to join the partnership of L1-artists, which was founded by seven dancers/creators. She was chosen to be the artistic director of the union and she enocuraged to extend the membership of L1 Association in 2011 by inviting new artfileds like music, fine art, visual art. The name of the NGO has been changed to L1 Independent Artists Association of Public Utility. www.martaatwork.com


was born, lives and works in Tel Aviv. She graduated from the School of Visual Theater in Jerusalem in 2007. Between the years of 2009 and 2012 she was a student in the initiative program for Choreography Kelim, conducted by Anat Danieli. In 2012 she collaborated with Asaf Aharonson in the creation of God is Measuring the World with a Compass, a visual biography with associative stage happenings. This work premiered in the Machol Shalem Festival Jerusalem and got invitation to L1danceFest in Budapest. Tami is collaborating with several artists in the fields of Dance and Performance. She received a Grant from The Rabinovich Foundation, from The Israeli Lottery and got the America–Israel award for her Choreographic work Taninim. Tami is also a costume designer.


photo: James Davidon

photo: A Szenrok



is dance curator, dramaturg and performance-maker; used to write as a first regular professional dance writer for Didaskalia magazine. She has also written on Polish dance in Theater der Zeit (D), Dance Today (IL), and Dance Zone (CZ). Lectured on choreography history and theory in University of Poznań and Jagiellonian University in Cracow and gave many speeches on Polish dance abroad. In 2004 she has created first in Poland a regular dance space/choreographic development center within Art Stations Foundation/Stary Browar Art Centre in Poznań where she’s featuring avant-garde international choreographers and intensively supports development of Polish dance artists. Parallel to her curatorial work, Joanna developed her practice as dramaturge and performance maker as well as light designer and performer. In 2003-2009 she co-created Towarzystwo Gimnastyczne (performance collective and association) who were invited to L1danceFest in Budapest as well. In 2011 Leśnierowska did her official debut as a full term author with her Reconstruction (in which she also performed and for which she signed concept, choreography, dramaturgy and light design). www.artstationsfoundation5050.com


is a live arts curator, producer and director. Since 1992 he has contributed to developing the Czech independent theatre and dance scene. Following eight years as a freelance director in many different Prague repertory theatres, Ewan worked as apprentice producer with Daniel MacIvor’s dada kamera company in Toronto and the One Yellow Rabbit company in Calgary and produced Calgary’s High Performance Rodeo Festival of Innovative Performance for two years. He has produced and co-organized many independent performance projects and events in Prague, ranging from work for the Prague Quadrennial and Tanec Praha to Motus, producers of the Alfred ve dvoře Theatre. Ewan currently works as an artistic director of the Alfred ve dvoře Theatre and curator of the Prague Bazaar Festival of Identity in Art and Motion, a central European development festival. www.alfredvedvore.cz

photo: Jakub Wittchen


is a critic, theoretician, curator, dramaturg and lecturer. She holds a degree in religious studies from Jagiellonian University in Kraków, where she has been working as guest lecturer since 2009. She publishes on dance, as well as theatre, and visual arts. She writes for Teatr monthly, including monograph pieces on dance, and for Didaskalia. Since 2009 she is a constant collaborator and an expert for Ministry of Culture and National Heritage. She is frequent member of jury commities for dance platforms. At the moment together with Katarzyna Julia Pastuszak she translate The Male Dancer by Ramsay Burt, and work on her Phd. As a curator, Majewska is in charge of a range of Polish and international projects. She is co-founder of Open Forum of Dance Communities. She was a member of the first Council for Dance Program of The National Institute of Music and Dance and member of Dance Critics Association and Congress of Research in Dance. She is an author and curator of MAKT (Mobile Academy of Dance Criticism), created in 2012, first and the only one of that kind in Poland. MAKT was a guest laboratory during L1danceFest 2013. www.taniecpolska.pl/people/199

Honza MALÍK (CZ)

is a dancer, pedagogue, occasional choreographer, producer and curator of contemporary dance projects. He is a freelance artist since 1999 when he graduated from the Duncan Centre Conservatory (contemporary dance and choreography). He danced for the State Opera in Prague, he was a member of Austrian Laroque Dance Company, he collaborated on projects with Czech theatres. In 2004, he was one of the original founders of the NANOHACH dance company where he worked as a dancer, producer and manager. In 2016, the Company announced the end of their cooperation and existence. However, the non-profit association of the same name continues in different artistic direction under the direction of him. Between the years 2011–13, he was an initiator and supporter of choreographer MAIA, whose choreographies he also produced and in 2016, he was a member of the production team of vs.Interpretation, a music improvisation festival that overlaps with other genres as well. www.nanohach.cz


Tamara OBER (USA)


has been a member of Zenon Dance Company since 2002. Ober has created three critically acclaimed shows integrating dance/theater/ film/live music, which have toured nationally and internationally, and is currently developing a new multidisciplinary trio premiering in the MN Fringe 2016. Tamara is the recipient of a 2009 SAGE Award for outstanding performer, City Pages 2009 Artist of the Year, Metro Magazine’s 2011 Keeper Award, 2012 SAGE Award nominations for Performer, Performance, and Design, and the 2013 McKnight Artist Fellowship for Dancers. Ober was participating two times at L1danceFest already. www.tamaraober.com


is a dancer, choreographer and producer. She has a B.A. in dance from the Jerusalem Academy of Music and Dance, where she excelled in the choreography track. In her works, her innovative artistic skills are evident through her many collaborations with musicians, artists and animators, combining their skills into beautiful pieces. She began producing in “Machol Shalem” in 2014 and was acknowledged by The Jerusalem Foundation, granted an excellence award for her work, which includes among other things co-producing the International Dance Week in Jerusalem for the second year now. She is always looking for interesting people to collaborate with and create new pieces of art together. She is fascinated by the human body and tries to push its capabilities to the limit. http://www.macholshalem.org.il/en

photo: Anja Manfredi


was born in France and raised in Barcelona. Her immersion into dance began there with studies at the Juan Tena and Ramon Soler dance schools, before moving to Brussels and joining Mudra, the school created by Maurice Bejart. In 1996, she founded her own company to go on tour across Europe with her solo piece “Dame de Pic”, which won the 4th Aerowaves prize. Over the last 20 years she has created nearly forty pieces. Since 2011, Karine Ponties has been involved with the CDWEJ – Centre Dramatique Wallon de l’Enfance et la Jeunesse – to conduct year-long workshops with young audiences as part of their school program. In 2015, she started a new collaboration with the Ecole Supérieure des Arts – Arts2 in Mons (BE) as professor of stage movement for drama students. Her commitment to risk taking and balancing equilibrium with disequilibrium is evident in the work she has conducted over the years. Her pieces are characterised by a flair for the absurd, exploring intimacy and interlacing relationships. www.damedepic.be


is a Russian choreographer and performance artist who lives and works in Vienna. In the 90’s Soulimenko founded the international workshop Saira Blanche Theatre, whose provocative performances has toured the globe. Together with Tanzquartier Wien he curated “East meets West” a dialogue between Russian and Austrian artists. In 2010 with brut Wien he originated the exchange project “Music here, Music there: Vienna Moscow” between Austria and Russia, which resulted in showings both in Moscow and in Vienna. He has been co-operating with artists like Lisa Nelson, Anna Jermolaewa, Meg Stuart and Steve Paxton. His performances were presented in international venues and festivals. www.de.wikipedia.org/wiki/Oleg_ Soulimenko


photo: Albert Bitton

photo: Kovács Márton

Zsuzsanna SZÁLKA (H)


is the head of concert management of the Liszt Academy of Music and a recurring visiting lecturer in cultural heritage project management at the Cultural Heritage Studies Program at CEU. Between 2007 and 2013 she worked as manager of International Affairs at the Palace of Arts (MÜPA) – Budapest. She has participated in and later initiated many music and choral projects organized by non-professional choir singers voluntarily. She was the manager of the Cultbath Festival (2008-2013): a summer festival with performances in the field of music, theater and literature in various spas in Budapest. She was the founder and the director (2013–2015) of the Night of Choirs a cappella festival at unique locations in the heart of Budapest. She graduated in history and English literature and linguistics at ELTE University (2006) in Budapest and did a master in economic sciences at University College Dublin (2007). www.ceu.edu

Borbála SZENTE (H/D)

was born in Hungary. Based in Berlin for the last 8 years, she is an experimental artist in the field of performance and body art. After several years of intensive contemporary dance training in Hungary, Denmark, and Berlin, she learned to love and use her body as a tool for self-exploration and source of inspiration. “Living in a female body, it’s limitations and possibilities, the pain and mysterious dimensions of it, and the connection to blood are my main interests. As opposed to the imposed standards of harmless beauty, I see my own physicality and sexuality as a source of power and even as a disturbance agent.” Since 2012 she focuses on realizing her own ideas and build a community of performers, dancers, musicians and best friends, whom she invites for collaboration on a regular basis. Their most recent works: Borbála Szente is dead – The Funeral, The Great Vagina Show, The Big Berlin Dick Festival and Anus – The Show. www.pinabrutal.com

photo: Claudia Martins

photo: Dancs Enikő Bianka


is a composer, performer, producer. Balázs Temesvári was participating as a composer and performer in contemporary dance theater choreographers and companies such as Artus, Phobos, Dekadance, L1 Association, Hodworks, OFF, Krétakör, TÁP Színház - TÁP Theater, Proton Theater led by Kornél Mundruczo. Member of Tibor Szemző’s The Gordiusi Čomó and the Cinematic Music Company. Scores music for movies such as Moscow Square and Iska’s Journey. As a producer and sound engineer he has been contributing to recordings of Nemjuci, Faustroll, Paranoize. Founder of Rosinflux, a music project based on performance art and installation. www.soundcloud.com/rosinflux

Eszter TIMÁR (H)

is Assistant Professor at the Department of Gender Studies at Central European University, Budapest where she teaches courses on performativity, queer theory and feminist theories of embodiment and affect. She received her Ph.D. in Comparative Literature from Emory University. Her research focuses on Derridean analyses of fraternity, sexuality, and embodiment. She is working on a book manuscript on performativity, queer shame and the shared tropes of democratic citizenship and male homosexuality. Her articles on Derridean autoimmunity and recent scientific developments in immunology appeared in Parallax, and InterAlia: A Journal of Queer Studies. www.ceu.edu



is a project name under which the choreographers and performers Marie-Louise STENTEBJERG and Ida-Elisabeth LARSEN have joined forces. They first met at SEAD in 2004 and then again back in Copenhagen in 2009 where they are now based. Alongside their own projects and international collaborations, they’ve also founded the collective RISK together with the two other Copenhagen-based choreographers; Marie Topp and Gry Raaby. Since their first collaboration TWMS have been occupied with themes such as mass-phenomenon, monoculture, the uniform, and unison movement. They access their work from two angles: Their choreographic method Found Material in a Liveart Context and their conscious approach to the duo format as a genre in itself. TWMS were awarded by the Danish Arts Foundation for their works ‘Mass Hysteria’ (2013) and ‘My Body is a Barrel of Gunpowder’ (2014). www.twowomenmachineshow.com

photo: Szabó Roland

photo: Frida Gregersen

two-women-machine-show (DK)

Barbora Uríková (SK) is a graduate in Cultural Studies at the University of Constantine the Philosopher in Nitra. Currently she is active in the cultural center Stanica Žilina-Záriečie as a dramaturg and organizer of KioSK, festival of new Slovak dance and theatre. www.stanica.sk , www.kioskfestival.sk

Zsolt VARGA (H)

is a musician, composer, multiinstrumentalist, sound and movement artist from Budapest, Hungary. In the recent years his work mainly concentrates on the collaboration with contemporary dancer and choreographer Márta Ladjánszki. Since 2011 he is the chairman of L1 Independent Artists Association of Public Utility with a great pleasure. www.L1.hu

photo: Ed Luna

photo: KNI


after finishing the Budapest Comprehensive Dance School in 2007, he worked with Hungarian companies such as HODWORKS, The Symptoms, Artus, STEREO Akt, Márta Ladjánszki and Theatre JEL. In 2009 he joined the Brussels based Ultima Vez for the production and the international tour of neiuwZwart, he worked with United Sorry in the Forest Project in Peggau. In 2010 he participated in the danceWEB scholarship program during the Vienna International Dance Festival and he was also selected for the first edition of SPAZIO – A Europian network for dance creation in 2012–2013. He has been making his own works since 2010. In collaboration with Dávid Somló, he created G A P (2012), a sci-fi voyage in the ego-multiverse, dealing with the necessity of connecting with people and with extraterrestrials. This was released at L1danceFest 2012, as Imre was a resident artist of L1 Association that year. www.imrevass.com

was born in Slovakia. He studied Choreography of Ballet at the Academy of Performing Arts in Bratislava (SK) and Choreography at the Academy of Performing Arts in Prague (CZ). Since 1998 he has collaborated as a dancer and performer, as well as choreographer with various artists from Slovakia and from abroad (e.g. making a dance movie) as well as with the Grotowski Institute in Poland. Jaro received several awards including the 2nd award of the Jarmila Jeřábková Award in Prague in 2001 and 2003 for Sorton and Tea Never Brewed, respectively. In 2006 he received The Audience Award at the Czech Dance Platform and the Award of Sazka for “Discovery in Dance”, both for his work The Last Step Before. In 2011 Jaro founded a non-profit organization SKOK! working for the development of contemporary dance and physical theatre in Slovakia. Since 2004 he is closely collaborating with the Belgian choreographer Karine Ponties / cie. Dame De Pic. In 2013 Jaro received The Bessies, The New York Dance and Performance Awards in category Outstanding Performance. www.physicalarts-sk.com


photo: Vojta Brtnický

Michal ZAHORA (CZ)


was graduated from the Duncan Centre Conservatory in 2003. Then he joined the Norwegian national company Carte Blanche (performances by Amanda Miller, Ohad Naharin, Ina Christel Johannessen), Roberto Zappala’s company in Italy (2004) and the Scottish Dance Theatre (2006-08), where he systematically focused on teaching and led seminars at schools. He served as director at the Duncan Centre Conservatory from 2009 to 2013. Michal is continuously involved in choreographic works. He created seven original works within eleven years (Synchronicity, Resonance, Orbis pictus, Diptych, etc.). This year Michal works on a new original project called Pulsar. www.nanohach.cz

Jan ŽůREK (CZ)

is Czech theatre manager and director. He studied philosophy and theatre studies at Palacky University in Olomouc. He is the director of DW7 that is organizing Flora Theatre Festival and running venue called Divadlo na cucky. www.divadlonacucky.cz/index.php? page=activities

Milan ZVADA (SK)

studied English and Philosophy at Matej Bel University (2001-2006) in Slovakia. In 2010, he graduated from Erasmus Mundus MA in International Performance Research at the University of Tampere and University of Amsterdam. His interests range from reading lyrics and poetry to cultural policy, theory of theatre and translating. He publishes reviews and articles in theatre journals and online. He works as a teacher, dramaturg and cultural manager. He is in charge of artistic program and international projects at Záhrada (Garden) – cultural centre based in Banská Bystrica, Slovakia. www.zahradacnk.sk

L1danceFest 2016 - 15 years! Main sponsors

Partner venues

L1 Egyesület

Partner and Supporter organizations

Media partners

Artistic partners

Sponsors of the invited performances

Tanzhaus nrw, Kulturamt der Stadt Köln, Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes NRW, Landesbüro Freie Darstellende Künste, RheinEnergieStiftung Kultur, Fonds Darstellende Künste és iDAS NRW, Zéró Balett, Tanzhaus Zürich, Théâtre Sévelin 36, Dampfzentrale Bern, Plum Yard Malovice, Stadt Bern, Kanton Bern, Burgergemeinde Bern, Gesellschaft zu Ober-Gerwern, Nadace život umělce, Pro Helvetia, Brigittines, Centre for movement City of Brussels, Ministry of Culture of Fédération Wallonie-Bruxelles, Service danse, Wallonie-Bruxelles Théâtre | Danse, Budapesti Francia Intézet, The Ministry of Culture of the Slovak Republic, Literary Fund, MA 7, TQW, Arti e Spettacolo L’Aquila, Teatro Nobelperlapace di San Demetrio (AQ) ed Associazione Culturale VAN, Theaterschool, Amsterdam, Cseh Kulturális Minisztérium, Motus o. s. - Producers of the Alfred ve dvoře Theatre Prague, SE.S.TA - Centre for Choreographic Development in the Czech Republic, Ponec Theatre Prague, Alta Studio Prague, Nemzetközi Visergrádi Alap (VARP-PA), Sín Kulturális Központ, Orkesztika Alapítvány – MOHA-Mozdulatművészek Háza, TranzDanz, Ministère de la Culture et de la Communication-DRAC Ile de France, Breaking Gourd festival, Conder | dance, Ministry of Foreign Affairs Israel, The Choreographers Association (IL), Ministerstvo kultury ČR, Konzervatoř Duncan centre, Balada SITE, Tanec Praha | PONEC – the dance venue, Trans Europe Halles, Be SpectACTive! program, „Störung | Hafraa” Yasmeen Godder Studio–Theater Freiburg együttműködési projekt, Hazira, Studio Yasmeen Godder, Theatre Freiburg, The German Federal Cultural Foundation, The Choreographers Association, German Federal Cultural Foundation, danceWATCH, Prague City Hall, K.A.I.R. Université Paris 8, STUDIO SHAIPROD

Accompanying events 09.06–20 two-women-machine-show (DK) | A Solo for the Duo című új bemutatóján dolgozik az L1 Egyesület rezidenseként 09.12–20 Ruri MITO (J) | műhelymunka | zártkörű - előzetes jelentkezéssel 09.14–16 MAMŰ | Test-Vonal kiállítás | kurátor: KOROKNAI Zsolt DLA (H) 09.14

11.00 – 13.00 | MTF Kazinczy | NANOHACH | Michal ZÁHORA (CZ) kortárstánc kurzus és DEVOID stúdió-prezentáció

09.15 10.00 – 13.00 | VDP? Visegrad Dance Platform? | konferencia zártkörű 09.20-10.14 Szlovák Intézet Budapest | Roland SZABO (SK/H) L1danceFest - my point of view fotókiállítás 09.21 Bakelit MAC | Kiégő Izzók (H) | FACE 2.1 It is required to register online for the symposium program (free of charge), please check our web-site. Registration for the workshops beforehand is needed. We reserve the right to change the program. Tickets are available at the festival venues and in the well-known tickets offices or online as well.

Bakelit MAC, 1095 Budapest, Soroksári út 164. www.bakelitstudio.hu CEU (Central European University), 1051 Budapest, Nádor u. 9. www.ceu.hu Magyar Táncművészeti Főiskola, 1075 Budapest, Kazinczy u. 42–46. www.mtf.hu MAMŰ Galéria, 1071 Budapest, Damjanich u. 39. www.mamusociety.wordpress.com MU Színház, 1117 Budapest, Kőrösy J. u. 17. www.mu.hu Műhely Alapítvány–Trafó stúdió, 1094 Budapest, Liliom u. 41. www.wsf.hu Nemzeti Táncszínház–Marczi Közösségi Tér, 1022 Budapest, Marczibányi tér 5. www.nemzetitancszinhaz.hu | www.marczi.hu RS9+ Vallai Kert, 1075 Budapest, Rumbach Sebestyén u. 10. www.rs9.hu Szlovák Intézet Budapest Galériája, 1088 Budapest, Rákóczi út 15. www.mzv.sk/sibudapest

program L1danceFest 2016 – 15 év! 09.13-14-15

14.00 – 19.00 | CEU | Collectivity | Responsibility | Performativity SZIMPÓZIUM free, előzetes regisztrációval látogatható, english subtitle


13.30 | CEU | Christine BORCH (DK) | From the forest to the sea 19.00 | CEU | Oleg SOULIMENKO (RUS/A) & Jasmin HOFFER (AT) Songs and Stories (free)


16.15 | CEU | T.BALI | ROSINFLUX (H) Keretbe zárt hullámok! (free) 19.00 | CEU | Dame de Pic | cie. Karine PONTIES (FR/BE) | Havran (free)


20.30 | RS9+ Vallai Kert | Dominik GRÜNBÜHEL (AT) & Luke BAIO (GB) Ohne Nix


11.00 – 16.30 | Trafó Stúdió | WORKSHOP-ok | Tomáš MORÁVEK (CZ) | ZENON Dance Company (USA) | Jaro Viňarský (SK)

09.16 17.30 | MAMŰ | JAMES (BDS) | HARSÁNYI & SZŰCS (H) | SZŰCS (H) | HORVÁTH (H) | KOROKNAI & LADJÁNSZKI (H) | Test-Vonal kiállítás-záró (free) 09.16 19.00 | RS9+ Vallai Kert | Cédric DUPIRE & Gaspard KUENTZ (FR) | We don’t care about music anyway filmvetítés (free) 09.17

11.00 – 18.30 | Trafó Stúdió | WORKSHOP-ok | Tomáš MORÁVEK (CZ) | VASS Imre (H) 19.00 | RS9+ Vallai Kert | Céline LARRÈRE (FR) & John HEGRE (NO) Average Bastards (free)


11.00 – 18.30 | Trafó Stúdió | WORKSHOP-ok | Tomáš MORÁVEK (CZ) | BAKÓ Tamás (H) | Tami LEBOVITS (IL) 19.00 | RS9+ Vallai Kert | KOVÁCS Gerzson Péter/Tranzdanz & ÁGOSTON Béla (H) A csárdás-ápolás művészete


17.00 | RS9+ Vallai Kert | ZIGGURAT Project (H) | Floating 18.30 | MU Színház | Céline LARRÈRE (FR) | Papalačinke (free) 19.00 | MU Színház | L1 Egyesület (H) | LÚDBŐR catwalk bemutató a Pesti Est bemutatja 20.30 | MU Színház | FEKETE Péter Géza (H) & VARGA Zsolt (H) és barátai | koncert


16.30 | Szlovák Intézet Budapest | Roland SZABO (SK/H) L1danceFest – My point of view fotókiállítás-megnyitó (free) 18.30 | MU Színház | KOVÁCS Kata (H/D) | A practice of falling performance 19.00 | MU Színház | showcase program 1 (az előadások egymást követik) JOBBÁGY Bernadett & KERTÉSZ Endre (H) | ZENON Dance Comp. (USA) | Uri SHAFIR (IL) | PATAKY Klári Társulat (H) | tanzfuchs produktion/Barbara FUCHS (D) | VerTeDance/Halka Třešňáková (CZ) | Valencia JAMES (BDS)


18.30 | Bakelit MAC | KOVÁCS Kata (H/D) | A practice of falling performance 19.00 | Bakelit MAC | showcase program 2 (az előadások egymást követik) Ruri MITO (J) | Martine PISANI (FR) | Francesca FOSCARINI (IT) | Chris LEUENBERGER (CH) & Matthew ROGERS (USA) | SZENTE Borbála (H/D) & Beto REA (MEX/D) | two-women-machine-show (DK) | BERGER Gyula/ZÉRÓ BALETT (H)


16.30 | NTSZ–Marczi Közösségi Tér | Talking through V4+ | nyitott beszélgetés 18.30 | NTSZ–Marczi Közösségi Tér | KOVÁCS Kata (H/D) | A practice of falling performance 19.00 | NTSZ–Marczi Közösségi Tér | showcase program 3 (az előadások egymást követik) Daniel RAČEK & Anna SEDLAČKOVÁ (SK) | Ruri MITO (J) | GÓBI Rita (H) & Andrea MILTNEROVÁ (CZ) | BLASKÓ Borbála (H) | HARASZTI-ZWIEP Adrienn (H) | Nadar ROSANO (IL) 21.30 EMELJÜK POHARUNKAT! FESZTIVÁLZÁRÓ KOCCINTÁS www.L1.hu | www.L1dancefestival.blogspot.hu www.talkingthroughv4plus.blogspot.hu

Collectivity/Responsibility/Performativity Symposium on Performative Arts




COLLECTIVITY IN ARTS 13.40 Opening guest performance by Christine BORCH (DK) + Welcome Drinks CEU Auditorium 13.50 – 14.00 Opening Speech by Márta LADJÁNSZKI (H), artistic director of L1 Association / L1danceFest 14.00 – 14.40 Session 1 Setting the theme: Ivana IVKOVIĆ (HR), Zsuzsanna SZÁLKA (H) 14.40 – 15.10 Open Discussion 1 with invited contributors 15.10 – 15.45 Session 2 Perspectives from Practice: two-women-machine-show (Marie-Louise STENTEBJERG & Ida-Elisabeth LARSEN) (DK) 15.45 – 16.15 Open Discussion 2 with invited contributors 16.15 – 16.30 Coffee Break 16.30 – 17.00 Open Discussion 3 with invited contributors change venue from CEU Auditorium to CEU October Hall 17.15 – 18.15 Workshop with two-women-machine-show (Marie-Louise STENTEBJERG & Ida-Elisabeth LARSEN) (DK) 18.15 – 18.30 Closing Remarks 18.30 – 19.00 Break change venue from CEU October Hall to Nádor u. 11. Inner yard 19.00 – 19.30 Performance by Oleg SOULIMENKO (RUS/AT) & Jasmin HOFFER (AT) RESPONSIBILITY AND POLITICS OF CULTURE 14.00 – 14.40 Session 1 CEU Auditorium Setting the theme: Joanna LEŚNIEROVSKA (PL), Alexandra KOWALSKI (FR) 14.40 – 15.10 Open Discussion 1 with invited contributors 15.10 – 15.45 Session 2 Perspectives from Practice: Gerzson Péter

KOVÁCS (H), Ewan McLAREN (CAN/CZ) 15.45 – 16.15 Open Discussion 2 with invited contributors 16.15 – 16.30 Coffee Break - Interactive installation by T.BALI/ROSINFLUX (H) Sound installation 16.30 – 17.00 Open Discussion 3 with invited contributors change venue from CEU Auditorium to CEU October Hall 17.15 – 18.15 Workshop with Oleg SOULIMENKO (RUS/AT) 18.15 – 18.30 Closing Remarks 18.30 – 19.00 Break change venue from CEU October Hall to CEU Nádor u. 11. Inner yard 19.00 – 19.30 Performance created by cie. DAME DE PIC/Karine PONTIES (BE/ FR), performed by Jaro VIŇARSKÝ (SK) MASK AND PERFORMATIVITY 15.09 14.00 – 14.40 Session 1 CEU October Hall Setting the theme: Eszter TIMÁR (H), Sanjay KUMAR (IND) 14.40 – 15.10 Open Discussion 1 with invited contributors 15.10 – 15.45 Session 2 Perspectives from Practice: Hester CHILLINGWORTH (GB), Borbála SZENTE (H/D) 15.45 – 16.15 Open Discussion 2 with invited contributors 16.15 – 16.30 Coffee Break 16.30 – 17.00 Open Discussion 3 with invited contributors 17.15 – 18.45 Workshop with Andrew HEFLER (USA/H) 18.45 – 19.00 Closing Remarks 19.00 – 19.10 Closing Speech by Márta LADJÁNSZKI (H), artistic director of L1 Association / L1danceFest You are kindly invited to follow our program at 20.30 in RS9+ Vallai Kert, where you can watch the work of Dominik GRÜNBÜHEL (AT) & Luke BAIO (GB).

Profile for L1 association

Collectivity/Responsibility/Performativity Symposium on Performative Arts  

In 2016 L1danceFest is organized for the 15th time by the L1 Association as its annual main event. This year the L1 Association in partners...

Collectivity/Responsibility/Performativity Symposium on Performative Arts  

In 2016 L1danceFest is organized for the 15th time by the L1 Association as its annual main event. This year the L1 Association in partners...