The Man Without Qualities is an ironic and disillusioned panorama of the modern society and its way of thinking.

It is inspired by the novel of the same name by the Austrian writer Robert Musil, which is considered to be an essential work of the last century literature. It is known for a unique usage of irony, sarcasm and it mixes disdain with admiration for the end of something, that iniciates the start of something new.

The world in which the individual characters move in the piece, is a colourful caleidoscope. The characters cannot keep their identities and fail to finish their actions – the fragment rules over the whole. There is hardly any literarary plot, the protagonists act rather than think. They have some kind of a fictitious form, they seem to be moving behind a dark plane, emerge before they start to act and disappear when we forget about them.

POINT OF ASSEMBLAGE is an interdisciplinary stage piece connecting dance, live music, visual art, light design and the architecture of a post-industrial space. The production is a collaboration of seven artists from Slovakia, the Czech Republic, the Netherlands and Norway.

POINT OF ASSEMBLAGE represents a “New Temple“ in times of a contemporary human. It invites the spectator in and proposes a Journey – an act of ´passing through´ the border between everyday life and the sacred, dreamed World. The performance articulates a search for deeper Knowing. It is a non-linear story, that reenacts prayer as a ritual of deep listening and connection.

What is important is to allow the Point of assemblage to move. This movement is supported by light and the scope of our imagination, which creates the connection between the internal and the external, between the beginning and the moment of disappearance. Nothing is permanent.

Two beings. Two energies. Two opposites. The tension between them shifts the distance. Relationship in the infinite oscillation of reflection and rest. Who is who? Is it important?

The basic idea of the choreography was to look for possibilities how to grasp, with minimal means of expression, the existential question of tension, which is the essence of life. A tension that vibrates and oscillates, that is sometimes invisible and sometimes so evident that it obscures everything else. The existence of tension presupposes the existence of opposites – their examination was the second idea of choreography. The circle is the final idea of the choreography. Its qualities such as secretiveness, autonomy and symmetry nourished the work. The use of masks originally had only one goal – to draw attention to the body, but perhaps it creates the opposite tension. Finally, it also refers to our current experience.

“This is my head and I will separate it from the body so that I can say there is my head.” (J. Juhás)

We started off with little dances with John Zorn and Keiji Haino in 2014. We threw cabbage heads into the corner of the stage. Later we met to dance this time with girls – outsiders, weirdos, girls who wear aluminium hats, girls uttering long tones and winning beauty contests whispering that we failed because of an intellectual error. We are inserting our fingers into the folds of a slightly torn hoodie. Moon cup on the floor has been chewed into pieces by the cat. The head is still rolling around in the corner. Bloody moments. This is becoming very personal. The sperm tastes best after eating a pineapple, whereas the crisps taste best while having a period. We have failed. Bloody moments.

Autocorrect is a solo dance performance that draws inspiration from the algorithm of automatic text correction as well as the consequences of its use and operating in everyday life. In the game of multitasking, where autocorrect is an instrument of identity, we observe the uncontrolled and, conversely, controlled body of the performer on the border between the creative process and everyday life.

„What is world, baby don’t hurt me?! (autocorrect.) I am sitting on the floor comfortably (changing the position automatically as needed) and peeling a pomelo.“

The Autocorrect is a loose sequel to Autopilot, the artist’s earlier solo.

The dance duet by Nikoleta Rafaelisová and Daniel Raček is an anticipation of the end. On the background of J. L. Borges´ texts the piece examines the overlap of conciousness and unconciousness and their influence on shaping reality.
Time as a catalyst of cortex and a next wasted chance to remember my own life. I will die and I won’t even remember.

3×20 manifests the energy and message of three women – choreographers. Each of them reflects the problems of today through her own eyes, inspired by her background, her own hopes and fears. The topics are diverse: movement (in)ability of today´s people vs the more sacred view on movement of the ancient world (Squat), mass paralysis of values in times of political-mafia manipulation (Čin) and the searching for the harmony of micro- and macrocosm within a human being (Spaces). Strong emotions, technically acomplished  contemporary dance and varied aesthetics guarantee a complex and unique experience.