According to historians, dance is the root and most ancient form of all kinds of performing arts.

From this perspective we can also call it a proto–performance. Regardless of culture, religion, language or any other identity–defining aspect, this is an art form which can be found universally all around the world. Moreover, dance goes beyond the human being – we know many other species, who dance their very own dance. The common in the dance of the humans and the animals is the authentic instinct, where instead of its aesthetic experience it holds a practical function: a sophisticated evolutionary tool for choosing a mate.

The duet of Beáta Egyed and Gyula Cserepes is focusing on this core essence: the primal instincts as the birthplace of dance. Their approach is to keep shaking their bodies through the whole performance. This made-up ritual of resonance creates a vibrating space, where spectator and performer may enter a different dimension together. Through taking a journey into the depths of ourselves, pursuing those ancient „rules”, coded deep in our genes, we sink into the place before human speech. Into the twilight zone where human and animal are not yet so clearly distinct and perhaps beyond.

The never-ending shaking of the two dancers fills the space with an invisible net of vibrations. Slowly, it deconstructs expectations, impatience and ignorance. Slowly, it gets under the skin of the audience. Subtly, it radiates around the ring of spectators, transforming the stage into a space of the ever-changing. The constant shaking only exaggerates this feeling of being outside of the body, outside of the common consciousness. The transformation and psychosis of the performers keep revealing primal images, which we can all relate to, yet we tend to forget about. If we let go of our resistance, we might find ourselves at the entrance of ecstasy and perhaps even entering a state of trance.

Through the continuous transformation of feminine and masculine images, Late night show is reaching to this movement experience growing out of our ancient, authentic instinct. The fragile dance of the two performers is a rapture of the never-ending circulation that evolves from the tension between the two halves of a divided universe. This performance is a lyrical representation of the tragedy that is derived from the intention of creating a unison, which can never be processed. A contemporary adaptation of the eternal, “together, yet alone” ballade.


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Dorottya Albert,