Value in popularity, tradition in modernity

2010. September 28.

On the occasion of the forthcoming premiere of Dream Time, a new production of the Hungarian State Folk Ensemble, on 6 October 2010 in the Festival Theatre, creators of the production and representatives of the Palace of Arts and the Hungarian Heritage House held a joint press breakfast.

According to András Csonka, Deputy General Manager of MÜPA, this was not the first joint project of the two institutions; they have worked together before on productions such as Labirintus, which has earned a remarkable success even across the border. He praised the productions put on stage by the Hungarian State Folk Ensemble for their innovative way of preserving traditions. Sunlegend, which is regarded to be the antecedent of Dream Time, is a good example. He also stressed that the contract structure adopted for the premiere is a kind of novelty for MÜPA.

When asked for the reason why the HHH decided to present its new performance in the Festival Theatre rather than the Hungarian Heritage House, László Kelemen, Director of the Hungarian Heritage House replied, ‘because it’s impossible’. The auditorium of the HHH’s home at Corvin tér lacks the technical conditions required for a production of this type. Nevertheless, the main reason was the opportunity itself to arrange the premiere at the Palace of Arts.

Gábor Mihályi, choreographer-director of Dream Time pointed out that preparations for the forthcoming performance had started 12 years ago, when the creators realised that the domestic folk dance arrangements were too schematic, and that the prevailing ways of heritage preservation could well lead to the alienation of the audience. With Nikola Parov’s assistance, they set out to ‘localise’ the cultures of other regions, which bore fruit. “Breaking through the professional barriers” brought success, and Sunlegend was followed by a number of similar creations.

In developing a stage production, it was essential for the creators to be mindful of the audience, added Nikola Parov, composer of the production. Dream Time took a long time to take shape with a long series of discussion: the dance moves and tunes ‘pooled together’ were aligned to each other slowly and gradually until eventually they developed into a single, stunning production satisfying the expectations of the audience with such features as the unique sound of Ágnes Herczku’s solos.

The personality and approach of each co-coreographer working alongside Gábor Mihályi, namely Orza Calin, Anita Gera, Zsolt Juhász, Gábor Katona and Richárd Kökény, contributed fruitfully to the production. However, costumes and spectacle are an equally indispensable part of success – attesting to the excellent work of Edit Szűcs and Gerzson Péter Kovács respectively.

Analysing the success of performances resulting from similar co-productions, Nikola Parov referred to the individualism and unique complexity of Hungarian folk dance, broad comprehensibility combined with emotional depth, and music and a sense of humour proportionate to the mass of dancers moving on stage. In other words, ‘accessories’ abounding in Dream Time itself.

28.09.2010