#ORFEUSZ #EURÜDIKÉ

 

Kamaszok

 

Képzelt beteg

 

Mellettünk

 

Egy Faun alkonya

 

 

My name is Zoltán Grecsó. I work as a freelance choreographer, and as a teacher at the Hungarian Dance Academy. As a dancer, I work with the Éva Duda Company in Budapest and with the Jonah Bokaer Companyin New York. Naturally I also do collaborations, for example with my brother Krisztián (writer, poet, literary editor of ÉS) with whom we created a synthesis of theater art. In June of 2019 I graduated as a Modern-dance teacher in the Hungarian Dance Academy. In October of 2018 I had the opportunity to perform in the Joyce Theater as a a member of Jonah Bokaer Dance Company. I have taught contemporary dance at the University of Theatre and Film Arts since 2011 and in the Hungarian Dance Academy since 2015. In the past 15 years I have participated in over 70 productions in Hungary and abroad. I founded my own improvisation studio - Willany Leó Improvisation Dance Theatre in 2009. In 2005 I graduated as a dancer in Anton Bruckner Privatuniversitat in Linz, since then I am working as dancer and choreographer in the Hungarian dance scene. 

 

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Willany Leó Improvistaion Dance Theater

 

 

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Zoltán Grecsó 

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#ORPHEUS #EURYDICE

Zoltán Grecsó’s and Beatrix Simkó’s duo puts Orpheus’ and Eurydice’s mythos in today’s conditions, giving a special interpretation to this so many times presented love story. 
Now, Eurydice will be expelled to the hell of our present world. Of course, she will be followed by his lover, the famous singer of the Greek mythology, but even though Orpheus understands the language of the animals, this world is and remains unfamiliar to him, and suddenly he gets helpless and incapable – he has no vigor to confront the ethos of the 21st century. 
He tries to adjust to Eurydice’s new lifestyle, but Orpheus is not able to alter himself: his internal rhythm, which is different and slower than that of the beloved woman’s, does not match the everyday of his changed lover. Their love, which was believed to be immortal, even to survive death itself, will be in danger. The happy, ageless slowness will be uninterpretable in the caducity and quickness of the present. 
Once again, Orpheus enters the underworld to find his lover, but this time their relationship becomes hell. 
The dancer duo presents the conflict between the world of myths and the realities of the present, but dramatically it offers even more, by demythologizing their heroes themselves. Orpheus and Eurydice do not have to fight gigantic adversaries, like death. Their inglorious but at the same time hard fight will be about the everyday, the change, and the different world views. 
This is an exciting challenge, to code this momentary collision, presenting dissonance and diversity in the language of motions only. Dance allows to show the mainspring of human relationships, the internal forces generating unsolvable conflicts. 
In their duo, Beatrix Simkó and Zoltán Grecsó accumulate their experience of years of working together, using Dániel Dömölky’s clear scenography construction, in the atmosphere created by sound designer Ábris Gryllus.

Trailer: https://youtu.be/8XwxHpqINSg



Choreography, dance: Beatrix Simkó, Zoltán Grecsó
Music: Ábris Gryllus
Set design: Dániel Dömölky
Costum: Petra Földi

Producer: Pro Progressione

Special thanks to: Stefánia Ágoston, Anna Bagi, Eszter Kálmán, Bálint Nagy, József Pető, Tamás Reich, Borbála Sebők, Ádám Szellő, Anikó Zsalakovics

Supported by: Ministry of Human Resources, National Cultural Fund, Comedy Theatre Budapest, Workshop Fundation, Sín Production, Spicc Studio, Movein Studio, Eötvös 10, Pro Progressione, PUR E, DNN, deephoto

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#ORPHEUS #EURYDICE

#ORPHEUS #EURYDICE

Zoltán Grecsó’s and Beatrix Simkó’s duo puts Orpheus’ and Eurydice’s mythos in today’s conditions, giving a special interpretation to this so many times presented love story. 
Now, Eurydice will be expelled to the hell of our present world. Of course, she will be followed by his lover, the famous singer of the Greek mythology, but even though Orpheus understands the language of the animals, this world is and remains unfamiliar to him, and suddenly he gets helpless and incapable – he has no vigor to confront the ethos of the 21st century. 
He tries to adjust to Eurydice’s new lifestyle, but Orpheus is not able to alter himself: his internal rhythm, which is different and slower than that of the beloved woman’s, does not match the everyday of his changed lover. Their love, which was believed to be immortal, even to survive death itself, will be in danger. The happy, ageless slowness will be uninterpretable in the caducity and quickness of the present. 
Once again, Orpheus enters the underworld to find his lover, but this time their relationship becomes hell. 
The dancer duo presents the conflict between the world of myths and the realities of the present, but dramatically it offers even more, by demythologizing their heroes themselves. Orpheus and Eurydice do not have to fight gigantic adversaries, like death. Their inglorious but at the same time hard fight will be about the everyday, the change, and the different world views. 
This is an exciting challenge, to code this momentary collision, presenting dissonance and diversity in the language of motions only. Dance allows to show the mainspring of human relationships, the internal forces generating unsolvable conflicts. 
In their duo, Beatrix Simkó and Zoltán Grecsó accumulate their experience of years of working together, using Dániel Dömölky’s clear scenography construction, in the atmosphere created by sound designer Ábris Gryllus.

Trailer: https://youtu.be/8XwxHpqINSg



Choreography, dance: Beatrix Simkó, Zoltán Grecsó
Music: Ábris Gryllus
Set design: Dániel Dömölky
Costum: Petra Földi

Producer: Pro Progressione

Special thanks to: Stefánia Ágoston, Anna Bagi, Eszter Kálmán, Bálint Nagy, József Pető, Tamás Reich, Borbála Sebők, Ádám Szellő, Anikó Zsalakovics

Supported by: Ministry of Human Resources, National Cultural Fund, Comedy Theatre Budapest, Workshop Fundation, Sín Production, Spicc Studio, Movein Studio, Eötvös 10, Pro Progressione, PUR E, DNN, deephoto

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Sunset of a faun

Conception:

Performers:

 

Photos:

Valencia James, Zoltán Grecsó

Valencia James, Andor Rusu

 

Csaba Mészáros

Sunset of the Faun

Debussy’s orchestral composition was inspired by Mallarme’s poem while Zoltan Grecsó’s choreography draws inspiration from the ballet performance of Nijinsky and the biographical and narrative parallels lying behind it. In the contemporary dance scene there were always many choreographers inspired by the Afternoon of the Faun by Debussy, but the Nijinsky biography has not been addressed in these works yet. According to the musical narrative the young Faun discovers himself and his sexuality, desires and dreams, defining himself as the king of all natures. The personality of Nijinsky however was always determined by the fact that his succes was attributed not only to his exceptional talent but also to his employer and lover, Sergei Diaghilev. As the presumable consequence of pretentiousness and repression dominating this homosexual relationship and due to his complete professional and spiritual destruction by Diaghilev after their break-up Nijinski was later diagnosed with schizophrenia. The choreography follows the wanderings of the broken mind linking the loss of identity to the story of the Faun: it blurs the state of delirious dream with the rambling flow of thought and the experience of self-definition as human and divine at the same time.

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Sunset of a faun

Sunset of a faun

Conception:

Performers:

 

Photos:

Valencia James, Zoltán Grecsó

Valencia James, Andor Rusu

 

Csaba Mészáros

Sunset of the Faun

Debussy’s orchestral composition was inspired by Mallarme’s poem while Zoltan Grecsó’s choreography draws inspiration from the ballet performance of Nijinsky and the biographical and narrative parallels lying behind it. In the contemporary dance scene there were always many choreographers inspired by the Afternoon of the Faun by Debussy, but the Nijinsky biography has not been addressed in these works yet. According to the musical narrative the young Faun discovers himself and his sexuality, desires and dreams, defining himself as the king of all natures. The personality of Nijinsky however was always determined by the fact that his succes was attributed not only to his exceptional talent but also to his employer and lover, Sergei Diaghilev. As the presumable consequence of pretentiousness and repression dominating this homosexual relationship and due to his complete professional and spiritual destruction by Diaghilev after their break-up Nijinski was later diagnosed with schizophrenia. The choreography follows the wanderings of the broken mind linking the loss of identity to the story of the Faun: it blurs the state of delirious dream with the rambling flow of thought and the experience of self-definition as human and divine at the same time.

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Snow-white

Choreography: 

Performers: 

Zoltán Grecsó

Attila Emődi, László György, Patrícia Homolya, Viktória Kőhalmi, Csaba Nagy, András Schlégl, Karolina Tóth

This performance examine the myths and tales of our days. Who are our heroes? From which world do we choose exemplars? What kind of position do we choose for ourselves because of them? The play holds a mirror to the world: it invokes the reality-shows, the brazil soap-operas and the celeb world in a very entertaining form but yet it calls attention to the modern era's tales. The picture of ourselves is endangered because which we call the tales and stories of nowadays, those are integrant elements of our socialization and self-understanding.

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Snow-white

Snow-white

Choreography: 

Performers: 

Zoltán Grecsó

Attila Emődi, László György, Patrícia Homolya, Viktória Kőhalmi, Csaba Nagy, András Schlégl, Karolina Tóth

This performance examine the myths and tales of our days. Who are our heroes? From which world do we choose exemplars? What kind of position do we choose for ourselves because of them? The play holds a mirror to the world: it invokes the reality-shows, the brazil soap-operas and the celeb world in a very entertaining form but yet it calls attention to the modern era's tales. The picture of ourselves is endangered because which we call the tales and stories of nowadays, those are integrant elements of our socialization and self-understanding.

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Bachelor Day

Choreography and dance:

Zoltán Grecsó

The play shows the problem of the megalomaniac pleasure, called bachelor party. Does it have any connection with eternal loyalty? What or who needs to make his last night before his wedding to the night of the last legitimate cheating and irresponsibility, causing that the worm of debauchery haunts the big day? And whom affects the cheating? The other one or himself? The sensibility comes through the vulgar frame story and the sharp edge of criticism makes the play an important and actual production. It also brings the marks of Grecsó: the humor, the beauty and showing the deepness and the shallowness together.

Bachelor Day

Bachelor Day

Choreography and dance:

Zoltán Grecsó

The play shows the problem of the megalomaniac pleasure, called bachelor party. Does it have any connection with eternal loyalty? What or who needs to make his last night before his wedding to the night of the last legitimate cheating and irresponsibility, causing that the worm of debauchery haunts the big day? And whom affects the cheating? The other one or himself? The sensibility comes through the vulgar frame story and the sharp edge of criticism makes the play an important and actual production. It also brings the marks of Grecsó: the humor, the beauty and showing the deepness and the shallowness together.


Conversation full of Salt

Performers:

Zoltán Grecsó, Bea Egyed

In the first performance, two determined position, the salt box and the pepper box are mixing on the kitchen table, blacks and whites, yeses and nos. The two figure speak and chit-chat about man- and woman roles with humor and black humor, invoking the lead soldier and the paper ballerina. Like a broken pottery, it shows the repulsion, attraction and binding of you and me, where the movements bind and where they come apart.

 

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Conversation full of Salt

Conversation full of Salt

Performers:

Zoltán Grecsó, Bea Egyed

In the first performance, two determined position, the salt box and the pepper box are mixing on the kitchen table, blacks and whites, yeses and nos. The two figure speak and chit-chat about man- and woman roles with humor and black humor, invoking the lead soldier and the paper ballerina. Like a broken pottery, it shows the repulsion, attraction and binding of you and me, where the movements bind and where they come apart.

 

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On the Hungarian Waste Land

Costume conception: 

Choreography and dance: 

Music: 

Lionel Hoche

Zoltán Grecsó

Zoltán Grecsó

I'm bitter and offensive. No. Delete. I'm an adorer voice, Ady's.

I'm a wasted land, the homeland, you can see me in the eye of the poet. Everyone and everything is sentenced to death here. I'm black linoleum, this is the land to me: black linoleum, mourning theatrical space. I can lurk in it imperceptibly. Can't you see me? I'm there: the hair, that many hair don't defend me, only hid me.

The play is a dance-paraphrase of Ady Endre's A magyar Ugaron (same title). The main role is a puli dog's whose identity is divided and who wants to leave its Hungarian national identity behind because of the criticism which offended its homeland. The tapes from The European Parliament's critics about Hungary and the sensitive humorous choreography is a tragicomic statement about the national identity's crisis.

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On the Hungarian Waste Land

On the Hungarian Waste Land

Costume conception: 

Choreography and dance: 

Music: 

Lionel Hoche

Zoltán Grecsó

Zoltán Grecsó

I'm bitter and offensive. No. Delete. I'm an adorer voice, Ady's.

I'm a wasted land, the homeland, you can see me in the eye of the poet. Everyone and everything is sentenced to death here. I'm black linoleum, this is the land to me: black linoleum, mourning theatrical space. I can lurk in it imperceptibly. Can't you see me? I'm there: the hair, that many hair don't defend me, only hid me.

The play is a dance-paraphrase of Ady Endre's A magyar Ugaron (same title). The main role is a puli dog's whose identity is divided and who wants to leave its Hungarian national identity behind because of the criticism which offended its homeland. The tapes from The European Parliament's critics about Hungary and the sensitive humorous choreography is a tragicomic statement about the national identity's crisis.

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The Imaginary Invalid

Choreography: 

Performers: 

 

Costume designer: 

Dramaturge: 

Music:

Zoltán Grecsó

Attila Emődi, László György, Patrícia Homolya, Viktória Kőhalmi, Csaba Nagy, András Schlégl, Karolina Tóth

Tamásné Szaniszló

Réka Ágnes Tóth

Adrian Newgent, Laura Döbrösi, Zoltán Grecsó

The French classicism’s most popular playwright’s last play has never been adapted by any dance theatre performance in this form: the boundaries between reality and theatre are merging into one another but not only in the story, our reality also appears in the action through the criticism of the society. The performance is simultaneously self critic and heart-stirring, weightless and deep. The life of court’s author of Louis XIV is in line with The Imaginary Invalid’s chain of events in which it reveals why Moliere is the French Woody Allan, why the Sun King dances, how Lully tricks and what are the symptoms of this imaginary illness that we can call love, theatre - or anything we want.

 

http://vimeo.com/86918173

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The Imaginary Invalid

The Imaginary Invalid

Choreography: 

Performers: 

 

Costume designer: 

Dramaturge: 

Music:

Zoltán Grecsó

Attila Emődi, László György, Patrícia Homolya, Viktória Kőhalmi, Csaba Nagy, András Schlégl, Karolina Tóth

Tamásné Szaniszló

Réka Ágnes Tóth

Adrian Newgent, Laura Döbrösi, Zoltán Grecsó

The French classicism’s most popular playwright’s last play has never been adapted by any dance theatre performance in this form: the boundaries between reality and theatre are merging into one another but not only in the story, our reality also appears in the action through the criticism of the society. The performance is simultaneously self critic and heart-stirring, weightless and deep. The life of court’s author of Louis XIV is in line with The Imaginary Invalid’s chain of events in which it reveals why Moliere is the French Woody Allan, why the Sun King dances, how Lully tricks and what are the symptoms of this imaginary illness that we can call love, theatre - or anything we want.

 

http://vimeo.com/86918173

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Willany Leó Improvizációs Táncszínház

„Itt mindenki fellép aki látszik a sötétben”
Grecsó Zoltán táncművész 2008-ban létrehozott egy szabad, alkotói és közösségi teret, ahol a táncosok kipróbálhatták magukat. Ez az elmúlt tizenkét év alatt kinőtte magát, és a résztvevő táncosok és zenészek hétről-hétre közösen írt improvizatív  „jam-naplójává” vált. A Trafóban minden szerdán belecsöppenhetünk az előadók gátlástalanul őszinte vallomásaiba mindennapi kétségeikről, szerelemről, elmúlásról, életről. Mindez tánccal, zenével, fénnyel írva, egymásra reagálva és összefonódva.                          A társulat 2012 és 2014 között a Pro Progressione közreműködésével részt vett az Európai Unió Kultúra keretprogramja által támogatott – és a legjobb projekteknek járó „Success Story” minősítést is elnyert - Beyond Fronta Bridging New Territories című nemzetközi táncművészeti projektben. A Willany Leó 2019 májusában Lábán Rudolf Különdíjban részesült.                                                                                                                                                                                                                                                                    „ A Willany Leónak – és ezáltal az improvizációnak – megvan az a varázsa, hogy pillanatok alatt képes meghódítani a közönséget; ha valaki eddig félt is a kortárs tánctól, most jó eséllyel belehabarodik, mert nem létezik, hogy függetleníteni tudja magát a játék elemi erejű szívóhatásától. Ha tehetném, beavatási szándékkal nem is feltétlenül kész műveket, hanem a (minőségi) táncimprovizációt vinném közelebb a közönséghez. Itt sokkal inkább elcsíphető és megérthető a mozdulat, a jelenlét súlya és jelentősége, mint sok pozdorjaszáraz invenciótlan tömegkoreográfiában.”                                                                                                                                                                                                                                                                                                                                                    Králl Csaba, Élet és Irodalom LXIII. évfolyam, 15. szám, 2019. április 12.

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My pedagogy manifests itself in the next three units.

 

Contemporary training for dancers

 

The dancers can participate in coordinative skill development with active-passive stretching forms based on the release-technique, using basic elements of the contemporary dance. It is important that the artists prepare for the challenges with using not only static movements but dance all around in the space. We start with basic moves and then redraft the ecumenical movement, the "moment of the move". In every motion we pay attention to the contact of the ground and the human body, where the most important thing is to control our weight from millimeter to millimeter. The body does not lie. The rhythm of the moves always searches for the rhythm of gravity like the Newton balls. The elementary skill developing movements produce complex continuity as we use isolated limb- and spine coordination exercises and also pay attention to controlled breathing and living the plastic body conscience. My choreographies are mixture of continuous and dynamic moves. The philosophy of my dance teaching is that the relaxed body can be not only unbelievably fast but also easily handles the situations caused by gravity, recycles the nascent energies and also uses those energies which are independent from the body. After we have found the weight control on the ground, we can also position ourselves on our partners as we are free to experiment organic contact forms, where we can create new spaces, rhythms and changing formations with the help of the wandering common points of the two body. I teach the performer skill, developing the talent, the emotional background of willing and unwillingness and so the paths of controlling emotions and feelings, the forming conditions of letting go and empathy.

At the end of the classes the goal is always to practice, understand and deepen the regularities we have learnt.

The normality is particularly important to me. I don't want the dance to be only a mannered formation or an identifiable movement but conversation in the forming environment where all part of the body surface have a direction and the importance of that is not questionable.

 

 

Improvisation both for dancers and amateurs

 

In Willany Leó Improvisation Dance theater I’ve been watching the improvisation which have been growing absolutely freely without obligations for five years. I’ve never directed it from outside in a direct way, just smoothed its way from inside. During this time, I’ve never felt that if we play improvisations taught by others – in which we don’t connect but we learn them - could make our performances more interesting. During the years, I've created the improvisation sequence that guides both the amateur and the pro to use the choreographer tools as reflex. The practice is multiform but infinitely easy. The first phase deals with the locomotion’s and the actions’ (for simplicity, I call action when we do or don't do something during improvisation) purity and attitude. The second phase deals with the rhythm, the third with the focus and the fourth one contains the easiest compositional elements, with the repetition and the contra-repetition. Acquiring the easiest compositional exercises will build up the compositions countless recognition, side by side with the practicing of the choreographer tools. I always give numbers to the subjects so I can immediately remind the improvisators to their attentions’ blind spots. Because of the composition, we necessarily deal with the using of space and its marks. Then we work with the relationship of the solo and the arms, then with the body as a scenographic detail. After that, we deal with leaving freely the actions and the definition of manipulation. The communal attention continuously connects to these exercises and it is a very important part of them. After that, it’s inevitable to negotiate the optional possibilities of the contact and the compositional "dancing-together". This framework is easy and primitive but it’s hard to pay attention to all these when the dancer can finally do freely anything that they want. And at last, we look for the quality, when I try to enrich the movement qualities of the dancers. The aim is to teach more colours to the dancers which can make them more interesting performers.

https://www.youtube.com/watch?v=8SkJlt870Ao 

 

Basic contemporary dance for beginners and dance artists

 

Infant Developmental Movement Education

 

The first year is the most important part of the children's life because this is the time when their movement culture starts to grow, which impacts their physical and spiritual progression. The babies spend many time lying on the floor and their moves affects the growing of their brain. If the infants fall behind with move development (for example, they don't turn to their back in time), than later it affects the progressiveness of their brain and also the connecting with their environment. This time interval is the root of many learning difficulties. Nowadays, still not so many people work on that field to properly develop the children's movement and most of the adults have some kind of mental difficulty which can refer back to deficiency of childhood movement coordination.

My exercises set on learning to walk help to acquire the basics of contemporary dance. The amateur dancers and the artists can relearn the possibly forgotten most elementary movement coordination, the inductive elements of learning to walk, which are not only important to acquire the style but because they are defend the body from the damages it suffers during using it.

The goal is to turn these movement qualities and the knowledge of defending the body into reflexes, to automatically use these during dance or any other movement form.

The babies simultaneously develops their physical, mental and emotional world during learning different movement formulations. Such capabilities like capability to be patient, the growing of intuition and the creating of balance are all originates from childhood movement forms. Relearning these moves can help us to develop these capabilities and we can balance the body-soul-spirit three-unit.

https://www.youtube.com/watch?v=MGtWos6zfBg

 

This informal class is full of fun. We learn and practice basic concepts during a thorough warm-up. This is followed by dance style choreographies that help participants directly and indirectly learn the fundamental principles of movement composition. The second part includes joyful dancing and careful stretching. This class is perfect for dancers and non-dancers who are interested in simplicity and normality, believe in themselves and who have a need to love themselves and others.

What to wear:

It is important to wear comfortable clothes for the class. Bring along (possibly non synthetic) socks, sweatpants and both long and short sleeved tops. Please do not wear nylons, huge earrings or any other jewelry. Make-up is not recommended and no fake nails are allowed in the class.

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