Maria Kolegova started her dance career in a ballet school at the age of 5 and continued her education as a contemporary dancer in a school of contemporary dance with support of the Centre of Contemporary Art in Yekaterinburg (Russian Federation). While studying, she discovered many dance techniques including martial arts and yoga. In 2004 she performed a solo made by L. Aleksandrova at a competition of contemporary dance in Seoul (South Korea) and became a gold medalist. After her graduation from the Theatrical Academy in 2012, she was part of ‘Chamber Ballet’ Moscow (Russia).
Artistically, she is working with the choreographer, filmmaker and photographer Wim
Vandekeybus and is a member of his company Ultima Vez since 2012.
She has offered an extensive amount of pedagogical activities, across Europe and Russia, through movement workshops, company classes and training programs.
Maria, also known as Masha, has been learning and training the skills she acquired while studying to become an actor – Mikhail Chekhov technique. One of her main goals in her work as an actor is connected to the body, imagination, fantasy and thoughts. With the technical, dance knowledge she gained in classical ballet and in contemporary dance she started to work with completely different intentions. She places great importance on finding meaning in action, to generate narrative through physicality and turning emotions inside out. She has discovered physical action not only as form, but seeks its limits and possibilities by going further than ‘simple’ physical modalities.
“Dancers and actors have one hundred percent freedom to create their personal material on any proposed circumstances and simple tasks. We make decisions together, discuss intentions and draw conclusions.”
Adrienn Hód was born in 1975. She graduated at Budapest Contemporary Dance School and as a pedagogue at the Budapest Contemporary Dance Academy. She founded OFF Company in 1995, then Hodworks in 2007. In 2012 with Bassedanse, in 2014 with Dawn, in 2015 with Conditions of Being a Mortal, Hodworks was selected into the Aerowaves 20 Priority Companies. She did choreographic work for the film Son of Saul (directed by László Nemes Jeles) that won the Oscar as the Best Foreign Language Film in 2016. She received the Zoltán Imre prize in Hungary, in 2016. Her piece, Solos received an invitation and performed at Tanzmesse 2018 in Düsseldorf. The same year she choreographed the theater piece Ithaka at Katona József Theater directed by Kriszta Székely. In 2019 her new piece MIRAGE is presented as well as her collaboration with the Unusual Symptoms at Theater Bremen: Coexist. She is invited to SEAD (Salzburg Experimental Academy of Dance). In 2020 she presents her new piece: Another Dance Show. Her works in total were nominated eight times to the Lábán Rudolf prize It was awarded to BasseDanse in 2011, Dawn in 2014, Grace in 2016 and Solos in 2017.
Her main profile is experimental movement and contemporary dance. She choreographs theatre pieces, films, TV advertisements, live performances and events. She regularly teaches improvisation and gives workshops related to Hodworks pieces. During studio work she creates intimate situations fostering openness and trust between the artists and herself so they may open up their physicality, sensations, emotions and verbalism. Hód’s method is based on improvisation that appears in a structured frame on stage. She is not afraid of working with the unknown.
Jenna Jalonen a.k.a triplejay (FI) graduated from the Hungarian Dance Academy in 2011, but already started to collaborate and work together with several international companies and choreographers in 2010 – Eva Duda Dance Co (HU), Kubilai Khan Investigations (FR), Kwaad bloed/Ugo Dehaes (BE), fABULEUS (BE), Notch Company (BE), Thierry de Mey (BE), Theater Bremen (DE), Máté Mészáros (HU), Untamed Productions (PT) and HODWORKS (HU). Together with Beatrix Simkó their production Long time no see! was part of the Festival d’Avignon Sujets á Vif program in 2018 and was selected amongst the Aerowaves Twenty19 productions. Her production BEAT ‘I just wish to feel you’ was also part of the Aerowaves selection of Twenty20 and won the Rudolf Lában Prize for the best contemporary dance performance of 2019. She is the co-founder and choreographer of Collective Dope that besides choreographic works organises [D]OPEN YOUR MOVE mini-festival, a platform to support young contemporary and urban dancers. For some years she has been developing and teaching triplewave movement practice for professional dancers and movers. She is an artistic team member of Flying Bodies and International Dance Week Budapest as well as co-founder of SUB.LAB.PRO The Ensemble Program.
Coming from a background of Gymnastics and Classical Ballet Jenna has also found major inspiration in different movement and art forms like partnering, acrobatics, house dance and physical theater that are visible in her movement and as a performer. She has been examining the body’s physical boundaries while decoding the skilled body to its core. In the ‘I just wish to…-’- trilogy, she has been researching the so-called ‘dead-body’ quality – the uncontrolled body from simple everyday situations to wider phenomenons of society. She carries an extensive scale of physicality that appears both brutal yet vulnerable on stage in her artistic works.
EMANUEL GAT DANCE
Born in Israel in 1969, Emanuel Gat worked as an independent choreographer from 1994, before founding Emanuel Gat Dance in 2004. In just over 20 years, Emanuel has created more than 40 pieces that have met international success and has been recognized with numerous awards. From Winter Voyage and The Rite of Spring (2004, Festival d’Uzès) which were represented more than 350 times around the world and received a Bessie Award for their presentation at the Lincoln Center Festival in NY – to LOVETRAIN2020 (2020, Montpellier Danse), a contemporary “musical” for 14 dancers created in the midst of the Covid-19 crisis.
Emanuel’s repértoire varies from large scale pieces to solos and duets, from impromptus to photographic installations. He was Associate Artist of Montpellier Danse (2013-2016), and Chaillot – Théâtre national de la Danse (2018-2021). Since 2020, he is artist in residence at Cité Musicale-Metz. Emanuel is also regularly invited as guest choreographer for prestigious companies, such as the Paris Opera Ballet, the Sydney Dance Company, or the Los Angeles Dance Project.
The rehearsal process will be led by two members of Emanuel Gat Dance company: Milena Twiehaus and Michael Loehr.
“SACRE by the Israeli choreographer Emanuel Gat, is more distinctive. It’s a kind of stunt, hearing in the ritual sacrifice of Stravinsky’s score the ritual of a crowded dance floor in which three women and two men engage in the Möbiusstrip partnering of salsa and swing dancing. This reading of the score […] is persuasive — as it was when Mr. Gat’s company first brought the work to New York in 2006.”
Brian Seibert, The New York Times
Csaba Molnár began his professional training at the Budapest Contemporary Dance Academy, after which he completed a two year training program at P.A.R.T.S in Brussels. Soon afterwards he joined the Italian dance company Compagnia Virgilo Sieni, and in 2010 he became a member of a Hungarian company called Hodworks. Besides, his active dance presence is constantly involved in different artistic collaborations and creates his own works as well. As an independent choreographer he has worked in association with Dèparts European network project, Trafò House of Contemporary Arts, Sín Cultural Centre and Katlan Group. As an artist in residence he worked with the students of Hungarian Contemporary Dance Academy and created commissioned works for EN-KNAP Group, TanzMainz and Studio Alta. He is co-creator of pieces that have been granted the annual Rudolf Lábán Prize for the best contemporary dance performance of the season: Bloom!: City (2011), Hodworks: Base Danse (2012), Dányi-Molnár-Vadas: Skin Me (2014), Hodworks: Dawn (2014), Sildenafilfairy: Tropical Escape (2016), Hodworks: Grace (2017), Cuhorka-Molnár: Masterwork (2020). His works have been selected by the Aerowaves European dance network for their annual showcase of the 20 priority contemporary dance performances.
In my work I strive to reconcile radical extremes. My main interest is to explore how different ways of expression, when juxtaposed, may transform the most private phenomena of human life into a universal and liberating theatrical experience. I try to expand my artistic activity and my role beyond my comfort zone. I’m seeking to create unscrupulously so my own decision making mechanisms are constantly challenged. I’m daring to act in all roles, from creating costumes to light design, or dramaturgy, that are necessary to make the most of an artistic process.
Máté Mészáros is a Hungarian choreographer, dancer and teacher. He started his movement and artistic studies in 1995 and graduated from the Hungarian Dance Academy in 1999. After three years at the Szeged Contemporary Ballet he has worked at various European companies – Carte Blanche (Norway), Lanònima Imperial (Spain), Última Vez (Belgium).
Upon returning to Hungary in 2014 he created his work Hinoki, which premiered at Trafó House of Contemporary Arts. His next full evening show, titled United Space of Ambivalence, with five dancers premiered in 2018 also at Trafó. His recent piece is a trio titled Mechanics of Distance with three dancers. He is a regular guest choreographer of various European dance and theatre companies and teaches partnering extensively. Pushing physicality to its limits in his choreography, Mészáros regards the body as a structural phenomenon.
Since the beginning to this day, his main interest is to continue evolving. Every decision he takes serves to maintain and generate momentum around himself, to enter the unknown, so that he could continuously find out what it means to create and perform. This process has resulted in many collaborations across the performing arts and into other artforms.
In his work, Máté maintains a strong focus on physicality and on the body as a dynamic object as the fundamental element of expression. In every creation, he strips down his intellectual problems to the core in order to recreate them as movements, in search of complexity, where space and light are equally important in the final outcome. He intentionally leaves space for the viewer to experience the work individually, where one needs to incorporate personal and cultural history, and become part of the creation.