teacher, dramaturg, theatre critic and cultural manager. He studied English and Philosophy at Matej Bel University (2001-2006) in Slovakia. He also graduated from Erasmus Mundus MA in International Performance Research at Tampere University and the University of Amsterdam (2008-2010). His interests range from reading music lyrics and poetry to cultural policy, theory of theatre and translating. In cooperation with community-based Theatre from the Passage, he co-organized International theatre festival with social outreach AKCENT 2010, and Arteterapia: freeDOM 2012 as dramaturg. He works as a dramaturg and project manager at Záhrada/Garden – Independent Culture Centre in Banská Bystrica Zahrada. He has collaborated on domestic and international artistic projects and performances. Publishes reviews, articles and reportages in theatre journals and on the Internet. In 2012, his MA thesis Performance, Reality, and the Beyond was published by Lambert Academic Publishing.
Studies: 1997-2003 PPKE BTK, Master of Hungarian Literature, Master of Communication; 2007-2011 painting studies at Napút Art Academy lead by Zoltán Döbröntei, painter.
Scholarships: 2006-2007 Darmasiswa program, traditional dance studies on Sumatra and Java Island (Indonesia); 2009 Jardin d'Europe scholarship for young critics, Brusseles; 2011 Jardin d'Europe scholarship for young critics, Bucharest. Publications on contemporary theatre and dance, fine art: Tánckritika.hu, 7ora7, Színház.net, Revizor online, Színház, Ellenfény, Zene zene tánc, New ceramics (EN).
editor, critic, PR, producer. Studied criticism at the department of Theatre studies, Charles University, Prague (Master degree). She has been working as contributor and editor in DANCE ZONE - TANEČNÍ ZÓNA /Czech printed journal on dance/ and its web version Tanecni Zona since 2007. She also writes for other journals and newspapers on dance and new performance. Markéta has been working as producer of Prague-based contemporary dance group VerTeDance and she worked as a PR on many projects in the cultural field.
holds an M.A. from the Department of Dramaturgy at the Academy of Drama Arts in Zagreb. She is the editor-in-chief of Frakcija Journal for Performing Arts has published in several other publications (Maska, The Drama Review, TkH…), and is a program coordinator at the Center for Drama Art in Zagreb. She has worked as the general coordinator of Zagreb – Cultural Kapital of Europe 3000, a project jointly organized by Zagreb’s eight independent cultural organizations from the fields of performing arts, new media, visual arts, architecture and theory; and has collaborated with Zagreb based independent theater company oour (orangecut (2004), To be Confirmed (2005)). She is a member of collaborative artistic company BADco. She is the co-editor of the textual and pictorial reader DemoKino – Virtual Biopolitical Agora with Davide Grassi (Aksioma and Maska, 2006). She regularly takes part in international festivals, symposia and conferences speaking about Croatia’s independent cultural scene and contemporary dance scene, and holds workshops.
critic, culture animator, publicist. He has been studying dramatology and cinematography at the Jagiellonian University in Krakow. He is working at the Institute of Music and Dance in Warsaw. Has published about performing arts and contemporary cinema in several magazines in Poland and abroad as well. He is the founder of PERFORMA and the portal Nowy Taniec also cooperating with Taniec Polska writing about new dance. He has organized conferences and discussions about the current state of Polish dance. Member of the „Krytyka Polityczna” editorial team and think-tank Restart.
DANCE SCRIPT: LABORATORIUM OF DANCE CRITICISM
20-24 September 2012, Budapest
Organized by L1 Independet Artists ASSOCIATION of Public Utility (HU)
In partnership with GARDEN – INDEPENDENT CULTURE CENTRE (SK), MOTUS ˃ ALFRED VE DVORE (CZ), ART STATIONS FOUNDATION (PL) and TALA DANCE CENTER (HR)
With the support of the INTERNATIONAL VISEGRAD FUND
as an accompanying event of L1danceFest 2012
Addressees: journalists, essayists, dance critics and theorists, curators and also dancers interested in writing
Planned schedule of the workshop: 11:00 – 12:30 and 14:00 – 15:30 each day
Working language: English
Venue: Krétakör Bázis (Budapest, IX. Gönczy Pál u. 2.)
The 5 day workshop is scheduled as a significant forum of learning new approaches and fetching creative ideas of how to recast the role of arts and culture today. Laboratory of Dance Criticism is willing to bring new possibilities of participation for the actors of new dance criticism in the Central European region. We want to focus on the subject of creativity as personal and social engine via supporting innovative expressions, creative dialogues and free artistic choices. The workshop focuses on exploring the issues of terminology, methodology, language and translation when dealing with performance genres and theories of dance and theatre in different socio-cultural contexts. The underlying idea is cooperative learning, which means that participants will have a chance to confront their understanding of dance and theatre, and get acquainted with some theoretical knowledge in the field of Performance Studies.
Workshops: practical exercises, readings, interpretation of the performances seen during L1danceFest 2012;
Talking Through V4+ audience talks: the workshop leaders and participants will play an active role at the daily open discussions with the audience.
The laboratory will be guided by young experts (dance and theatre critics, dramaturges, culture animators, publicists): Witold Mrozek from Poland, Markéta Faustová (tbc) from Czech Republic, Milan Zvada from Slovakia, Ivana Ivković from Croatia and Annamária Szoboszlai from Hungary.
A very good level of English (both communication and writing) is required.
Free of charge participation will be available for 18 participants – 5 persons from Hungary and 3 persons from the partner countries, selected by the expert team. The organizer will cover the workshop fees, the travel expenses and accommodation costs for the selected young professionals and will provide them full accreditation for the entire L1danceFest 2012 program.
For applying, please send your motivation letter and CV with the subject DANCE SCRIPT: LABORATORIUM OF DANCE CRITICISM
in Hungary: email@example.com - in Slovakia: firstname.lastname@example.org - in Czech Republic: email@example.com - in Poland: firstname.lastname@example.org - in Croatia: email@example.com
HU: Annamária Szoboszlai, Márta Ladjánszki, Andrea Ádám
SK: Milan Zvada, Jaro Viňarský, Miroslav Ballay
CZ: Ewan McLaren, Jana Navratová, Markéta Faustová
PL: Joanna Leśnierowska, Witold Mrozek, Anna Królica
HR: Ivana Ivković, Tamara Curić, Larisa Navojec
Deadline for application: 15 June 2012
Announcement of the selected participants: 22 June 2012
Further information you can find here
Art Manager and Program Curator – L1danceFest
Graduated as a Linguist and Theatrologist (M.A.). Has been living seven years in Krakow (Poland) while doing phD and organizing international events, such as Paprika Jam 1st Improvisational Festival (2006) and Ocean City Art&Society Project (2007).
After moving back to Budapest (Hungary) in 2008 she got employed at The Polish Embassy as a translator of Polish language then at the Polish Institute as PR manager.
From 2010 on she is working as an independent art manager and event organizer. Besides L1danceFest she has cooperated with PLACCC Festival (site-specific performances), Trafó – House of Contemporary Art (conference on regional cooperation) and Butoh Festival (touring program). DanceScript is her first project she curates.
The workshop focuses on exploring the issues of terminology, methodology, language and translation when dealing with performance genres and theories of theatre in different socio-cultural contexts. The participants will have a chance to confront their understanding of dance and theatre, and get acquainted with some theoretical knowledge in the field of Performance Studies.
Dance History and Dance Theory as reference;
Milestones in interpretation;
Contemporary dance tendencies;
The role of the artist – self-expression and auto-reflection;
Modification of the narratives, re-definition of the dramaturgy, etc.
What is the role of education, theory and practical experience when writing about performance?
How do the concepts of theatre and performance genres change in relation to cultural context and audience expectations?
What can "contemporary" mean?
What is the role of perception, subjectivity and metaphor in writing about performance?
After getting familiar with some of the literaure already before the workshop, participants will be challenged to search for possible answers to these questions by means of presentation, discussion and discovery learning. Another important part of the workshop is meant to be the common interpretation of the festival performances, reflecting back to the audience talk and the moderator’s role as well. We would like to put a special emphasis on creating a multilateral, democratic situation of learning and participation with equal chances to knowledge share. This may help journalists, critics and other writers involved in performing arts to practice and improve their theoretical and practical skills.