Szívhasadás [Heartbreaking] (2009)
Anatomía de un desgarro [Volandas de amor]
Created by Carlos Rodero
Based on Poems written by Radnóti Miklós & Miguel Hernández
Translated by Dobos Éva & Simor András
Background Texts Transaltion: Karsai Gábor
Performed by: Fülöp Ágnes, Oláh László & Daniela H. Faith
Dramaturg: Carlos Rodero
Choreography: Daniela H. Faith
Training: Hucker Kata
Costumes: Tabbouch Linda
Music: Alexander Balanescu, Jocelyn Pook, Carmen Linares
Percussion: Perger István
Lights: Vajda Máté
Video Films: Carlos Rodero
Production: MISERO PROSPERO Project
Production Assistant: Boronyák Vivien
Staged & Directed by Carlos Rodero
«I sink my life into your mouth,
i hear the murmurs of space,
and infinity seems
to have emptied itself over me.»
«Save me, O you who love me; love me bravely.»
MISERO PROSPERO Project’s Volandas de Amor (Szívhasadás) is a contemporary dance-theater performance based on a selection of poems by Spanish poet Miguel Hernández and Hungarian poet Radnóti Miklós. There are striking similarities between both their personal and artistic lives. They both lived in a stormy era, both united by the same cruel fate, and they both escaped to poetry in order to exorcise the maelstrom that dragged them down and eventually projected their voices towards the future. They both suffered the heartbreaking blow of a capricious and cruel fate. This rip, this tearing apart, the message of which clearly emerges from their work, is the backbone of Volandas de Amor (Szívhasadás). The selection of poems, which are almost mirrors to each other, shows the trajectory of the two poets and presents a dialog not only between two sensible and sensitive individuals but also between cultures, the Spanish and the Hungarian one. The performance is not simply a dance-theater rendition of the poems; our interpretation aims to recreate these poems through the emotions and sensations within. Applying languages of contemporary dance, butoh, physical theater, and video, we endeavor to portray how these poets attended to their desgarro, the break inside (and outside) of them. The performance is part of ELLAS CREAN (Madrid Festival of Female Creators organized by the Spanish government) and is realized through the support of Budapest Cervantes Institute.
One hundred years after the birth of poet Miguel Hernández Alicante, the Cervantes Institute in Budapest adds to the abundant demonstrations over the next few months of 2010 will hold their human trajectory and poetic excellence of his work. As part of the cultural festival “They create” the dancer and choreographer Daniela H. Faith and the Company Misero Prospero, through scenes of contemporary dance scene carried the poems of Hernandez and Hungarian Miklós Radnóti, poets both short existence, united by the same cruel fate and a successful authors matching expression for their aesthetic and ethical dimension marked originality, it is distinguished in the literary production of the last century.
The Cervantes Institute in Budapest, with the institutional support of the Embassy of Spain in Hungary and the Hungarian Embassy in Spain, has included in its cultural programming Spring 2010 under the label “Dialogue between cultures” the dance of Love Volandas ( Miguel Hernandez and Miklós Radnóti before tearing), directed by Carlos Rodero and performed in his role by Daniela H. Faith, whose opening is planned for the day April 9, 2010 in the Urania Theatre in Budapest.
About five capitals poems of Miguel Hernandez production interpreting Daniela H. Faith is grounded in order to trace the intimate biography of the poet in his most outstanding aspects: from adversity and misfortune that gradually and painfully indelibly mark the future the loving couple (Miguel Hernandez and Josefina Manresa), even the most overwhelming expression of the poet to the absences that dictate their prison existence and sensed death. A tear, ultimately, chiseling misfortune and cruelty to wound with dramatic enormity multiple wounds of the soul.
The five poems chosen Hernandiana significant in poetry and fully loaded with emotion and plasticity in themselves constitute the backbone in the project stage. With its proximity to Hernandez and his no less dramatic formulation, verse Radnóti this vision greatly enhances the tear. The performing arts is complemented by the music, the use of the stage, costumes, lighting and projected images, which together give full meaning to the word of both poets and reconstructed by evoking their own worlds, their paths marked the tragic face of his same fate.
First love in its most passionate dimension of love and sensuality complaint guiding some of the poems in The ray that continues understood as initial tear because the beloved does not seem to find a correspondence, silent gesture to embrace and become binding the “opposing forces” (war, physical separation and absences, heartbreak …) want to break malogradamente in “Waltz of love and united to forever.” In this journey of love in its varied and poetic reason plasmación “Song of the soldier husband” new song torn absence of love emerges from the war, firm ideological commitment. At its best erotic content test, “Son of light and shadow” represents the epitome of Hernandiana cosmic vision of love, in this case because it displays transcendidamente through the fusion partner -the mother night and dawn after childbirth; the father, light and sun in noonday splendor, that are in the child -sol naciente- the perpetuation of the human species, the binding of the ancestry of the procreative to future offspring. But adversity continues to tear apart the fate of Miguel Hernandez: a son who died just months after being born, conceived another fratricidal war in times of suffering the consequences of parental separation, the plight of a mother in irremediable loneliness, hunger and the absence that together is painful punishment in the famous composition “Nanas of the onion”. This intimate poetic biography is closed by a dance scene in which the dancer plays Daniela H. Faith Josefina tearing at the early and tragic death of the poet.
Scenic dialogue between cultures. Miguel Hernandez and Miklós Radnóti.
Volandas Love is also presented for the purpose of establishing a scenic dialogue between cultures through contemporary dance. This work aims to show how far and very surprisingly poetic diction of Miguel Hernández (Orihuela, October 30, 1910 – Alicante, March 28, 1942) and the Hungarian Miklós Radnóti (Budapest, May 5, 1909 – Abda, November 9, 1944) coincide not only by the fact that both the creative result of two contemporary authors who, for much biographical proximity, know the same time and therefore the same historical events certainly affect production, but because their poetic respective paths converge on similar ethical and aesthetic approaches. Hence it has been agreed to establish such a poetic dialogue and express through movement and scenic resources of contemporary dance posing degree of excellence and originality dancer and choreographer Daniela H. Faith directed by Carlos Rodero.
Famous and celebrated as national poet in Hungary, Miklós Radnóti is a great unknown in the Spanish intellectual circles. Although there was a not very extensive work, it was enough to reach the artistic height and great literary significance only reserved for poets very personal voice, shows originality. If this creative and deep shortness artistic draft fully agrees with Hernandez, fate in its tragic face also joined them with just two years apart: the Alicante after a prison tour, died in a Francoist prison in utter helplessness, unattended clinically when it was not yet 33, by a Republican; Hungarian, after an endless wandering in labor camps, was shot by his fascist countrymen in collusion with Nazi insanity at the age of 35, for being Jewish.
Voices and echoes the tear. Through four texts culled from the poetry of Radnóti cultural dialogue that has Volandas of Love, a dialogue between his verse and Hernandez, against the backdrop of complementarity in their difference, between Spain and Hungary it is set. As in the case of Hernandez, the pain of absence and longing in the poem “Between your arms” arises when near death Radnóti senses; or beloved vivid memory when compared with elements of nature, or longing for love gesture in “comparisons” ago. If love and sickness absences backbone underlying these two texts, to the poem “ever” is coming, just as in the verses of Hernández, the pain of imprisoned poet, who already feels the inevitable death. Finally, the composition “Spain, Spain” whose selection is justified from the same title, greatly surprised, among other things, maintaining lexical matches with the poetry of Hernandiana urgency. In short, a dialogue between two cultures, between two poets dance Daniela H. Faith continues on the scene.
Volandas of Love is a dance in its contemporary side whose intention is to try to interpret the essence of poetic sensibility through the dramaturgy of movement. Movement is more than a mere abstraction and includes elements such as character, narrative, relationships and interaction between performers, the expression of feelings and emotions, not necessarily obvious or linear serving the poetry of Miguel Hernandez and Miklós Radnóti. The poetic word while material basis and foundation of the show consistently combines with dance to provoke an emotion and a new artistic interpretation of the work of both poets.
From two sonets
EL RAYO QUE NO CESA (Miguel Hernández)
COMPARACIONES (Miklos Radnóti)
From the poems
VALS DE LOS ENAMORADOS Y UNIDOS HASTA SIEMPRE (Miguel Hernández)
ENTRE TUS BRAZOS (Miklós Radnóti)
From the poems
CANCIÓN DEL ESPOSO SOLDADO (Miguel Hernández)
ESPAÑA, ESPAÑA (Miklós Radnóti)
From the poem
HIJO DE LA LUZ Y DE LA SOMBRA
From the poems
NANAS DE LA CEBOLLA
ALGUNA VEZ (Miklós Radnóti)
A semitransparent screen gauze, the size of the stage, in front the public position, divided into two unequal parts. On this screen, in the middle between scenes and other images that will guide the viewer to place what will happen and will be used as a presentation of the scene will be screened. With the right lighting, this screen disappears, making that area of the stage useful. In turn, also serve as a projection screen shadow during some of the scenes. Behind the screen, in the center, hangs a huge belly drum, perpendicular to the ground. On one side of the stage, constantly illuminated by a beam of vertical light, a small cherry undergo various transformations during the show.