Simply put, Milan Tomášik’s performance, the Hunting Season, performed on Friday at KIOSK Festival in Žilina, Slovakia, is clever. Or more detailed: it is a clever, well-matured and complex choreography, which has the rare and valuable quality to feed every layer of the spectator’s curiosity. From chunky jokes to delicate historical and technical dance references, it invokes several relations simultaneously through the movements, while in the cross-fire of registers and references it is able to remain absolutely ‘meaningless’ and facile.
So as I said, HS is a clever choreography. But how did they pull it off? Let’s start with understanding the anatomy of the performance a bit more deeply! The key concept that we can adapt to sketch the skeleton of HS is transparency. Regardless of what aspect we choose to examine the choreography from, in the very core of it we will find transparency. And what do we know for sure about transparency? I mean, what is the main characteristic of anything that is transparent? That it allows something that is behind to become visible. But in the moment we would recognize anything, it (the medium) deflects our gaze from it, and reflects it back to us. The whole process indicates that we cannot define the meanings anymore (that are probably hidden behind it), and cannot identify the place of deflection (the certain point on the surface) either. The long and the short of it, we cannot penetrate transparency, since it is always-already penetrated. Our sight is lost in the medium as in a second reality that is unseen-but-visible and that is dispersed by a mysterious force. Transparency works as a snake that bites into and eats its own body; in other words, transparency allows the kind of intensity that can never be recovered to become visible. It concentrates and traps all the movements, the angles, the meanings and the structures.
|photo: Natália Zajačiková|
But the question of transparency is still not that simple. Because the dynamics of the inhale-exhale game makes something else visible, what is related to the deep core of every possible movement: time. However, in the moment we recognize this, our gaze is deflected, and we perceive the internal side of time: the movement again. Interesting, mirrored point of view, huh? Movements recover movements through the intensity of rhythm and time in the horizon of reflexivity, which, as a second reality, can never be recovered. HS can never be recovered.