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Agens and the Kodaly Method

(a concert at the Hungarian Contemporary Drama Festival)

28th November, 2009, 11 pm, Merlin Theatre (Gerloczy Street 4)

The Kodaly Method is a common belief, an international legend, the basis of the 20th century Hungarian music education. Musical writing, reading, musical awakening of self-awareness, educating teachers, musicians and the audience in one unique way. The solfa letters mentioned as a joke, a record quantity of music teachers and amateur choirs. The Kodaly Method is out of fashion these days. Joining Agens, some young singers, conductors and musicians founded a band called Agens and the Kodaly Method last year. They target to prove that there are several different routes in music even without myths and pathos. They gave a short concert on the Long Night of Museums, but they will only present their musical material in full now in order to guide their audience into the world of the obscene folk songs mostly collected by Bartok and Kodaly or rescued from the Middle Ages.

www.agens.hu

 

http://odiumart.blog.hu/

 

Cast:

Ágens, Philipp György, Dezső Sára, Szakács Ildikó, Cser Ádám vocals

Philipp György electronics

Bartek Zsolt winds

Bubnó Marci vocals, drums

 

Ticket information:

MERLIN Theatre

 

H-1052 Budapest, Gerlóczy u. 4.

 +36 1 318 98 44; +36 20 46 77 523
kovacs.andrea@merlinszinhaz.hu

 


 


Ágens Company

Opening

 

FATUM – mysterium

12-13th December 2009, 8pm

www.mu.hu

www.agens.hu

 

Ágens, György Philipp, Zsuzsanna Madák, Gergely Fogarasi, Éva Simán, Balázs Károlyi, Edit Szűcs, Krisztián Gergye, Judit Philipp

 

„I have come to you, my Lord,
I have brought myself here to behold your beauties.
I know you, and I know your name”

Egyptian Book of the Dead

 


 

Ágens, Philipp György - Photo: Béres Móni
 
 
Ágens:
plastic-fantastic-bombastic
 
 

5-6 May 2007, 20.00 pm

MU Theatre

Address: 1117 Budapest, Körösy József u. 17.

Tickets and information: +36 1 466 4627

szinhaz@mu.hu

Ticket price: 1500 HUF, student and pros: 1200 HUF

 

23 February 2007, 19:00 pm

MODEM, Debrecen

Modern and Contemporary Arts Center

Address: 4026, Debrecen, Baltazár Dezső tér 1. Information: 36 52/518-476, 36 20/971-4805, fazakas.reka@modemart.hu

Only a limited number of tickets are available. Please, book your ticket in advance.

 

 

Written and directed by: Ágens

 

Choreographer: Gergye Krisztián

 

Voice:

Ágens - tenor, soprano, alto

György Philipp - alto, baritone

József Csapó - Johnny - tenor, counter-tenor

Béla Laborfalvy Soós - bass

 

Musicians:

Xénia Stollár viola da gamba

Zsuzsanna Madai flute

László Tömösközi vibraphone, percussion

 

Costume designer:

Móni Béres

 

Lighting designer:

Krisztián Gergye

 

Mask:

Balázs Károlyi

 

Hair stylist:

Julcsi Bodor

 

Cothurnus:

Anikó Horváth

 

Sound:

Ferenc Boudny

 

Light:

Ferenc Payer

 

 

A warm hug for Krisztián Gergye and Móni Négyesi.

 

Sponsors:

 

Budapest Autumn Festival

The Cultural Committee of the Budapest General Assembly, Ministry of Cultural Heritage, Workshop Foundation, Theatre MU

 

Media sponsor:

tusarok.org

 

Exclusive promoters of the performance:


 

Listen to sample from performance
 
Watch preview of performance:
video 1 (5,4MB)
video 2 (5,7MB)
 
Photos

 

‘Plastic, fantastic, bombastic’ is the ironic story of Duke Bluebeard's Castle without Bartók and with reverse casting.

 

‘The key question lies in whether recalling our memories means reliving or rewriting them. Does it mean entering the same quality of time or is it merely about walking round the outer surface of what has happened? Does the triad of past, present and future exist or is there continuous present tense instead? Do we grab the opportunity of a metamorphosis that can start in any moment of time?’ Ágens – www.agens.hu

 

’Ágens – that is what they call her, that is her name and we learnt it over the past years. A woman with her hyponatural voice with God knows how many octaves in it, wandering in the kingdom of opera led by her moods. Or maybe not her moods. Her driving force is much rather what she has to say. In this world where concepts are highly suspicious, where it is not common to have a message, what  is much more about giving things shape, well, someone who does not give a damn about habits and expectations and tailors high-standard artistic performances to suit her own rules is an unreliable figure. She is lead by her own rules, we could say, but you can only do this if you have your own rules. A self-tailored world with your own standards.

Ágens cannot be forced into the shapes and figures that we already know.’      Erzsi Sándor, Radio Petőfi, 03 November 2006.

 

 

Ágens’s latest performance entitled ‘plastic-fantastic-bombastic’ presents a special battle, a fight, a dialog between the world of simple and bloodlessly beautiful ideas and the most fallible, lust-provoking and brutal (feminine) earthliness. Then these elevating and unreachably wonderful ideas (white male figures, male principles) also get confused, paddling, coming alive full of desire. Using relatively simple tools, the performance deals with such fundamental philosophical questions about our existence as the approachability of our past, the transformation of love into a story, the reception and graspability of beauty and the agelessness of Eros in us on a high level of abstraction and in an expressly artistic manner. This duality seems to be inherent in Ágens as well. A kind of aerial purity and outspoken aggression.’     Zsuzsa Nagy– Lege Artist Medicinae

 

’Ágens’s new production entitled ’plastic-fantastic-bombastic’ shows us that the endless flow of time unstoppably rolling on can not only be interrupted but also reversed. Moreover, it should be inevitably turned back in order for us to learn how to remember; so that we learn to see ourselves, our long forgotten and future selves. From a contemporary opera diva, Ágens has matured into a performing artist by now, deeply interested in the landscape of time and sensitively responding to its smallest vibrations. Her answers are not general recipes fitting all ages and moods. Disarming honesty and enthralling subjectivity is a more effective weapon since it also demands a reaction from the audience.’                                           Tamás Jászay

 

 


 

 

photo: Péter Hapák

Ágens + Joseph Tasnádi + The Byzantine Male Ensemble “St.Ephraim”: :

Ulixes

intrapersonal opera

10-11 April, 4 May 2007, 20:00 pm

MU Theatre

Address: 1117 Budapest, Körösy József u. 17.

Tickets and information: +36 1 466 4627

 

 Written and directed:

Ágens

 

Interactive video-stage:

Joseph Tasnádi

 

Singers:

Ágens

The Byzantine Male Ensemble “St.Ephraim

 

Musicians:

Ádám Jávorka  viola

Kornél Mogyoró  percussion

 

Dancer:

Móni Négyesi  

 

Choreographer, lighting plan:

Krisztián Gergye  

 

Costume designer:

Móni Béres

Mask:

Balázs Károlyi

Sound:

Ferenc Boudny

Light:

Ferenc Payer

 

Sponsored by:
Ministry of Cultural Heritage, National Cultural Fund, Municipality of Budapest - General Assembly - Cultural Committee - Theater Fund, Műhely Foundation,  AVControl, Avart Produkció
 

Media sponsor:

tusarok.org

 

Exclusive promoters of the performance:


 

 
Watch preview of performance:
 

 

“I dreamt that I read a huge book with beautifully shaped letters, in a strange language. Suddenly I became one with the text: the word, the sentence became a visual and audio sign. It became a sound. I knew that the image was an idea, and the idea was me: an experience of space and image, full of perceptions. I read the sound-letters with growing hunger; they pulled me in and pushed me into a visual world of space. I saw and heard the ideas behind the words and sentences at the same time; there were words and their images all around, below and above me. The same things were to be heard and seen. Then the image turned into a text which I no longer understood and perceived. The letters blurred, the connection broke off, and I did not see it any longer.”

 

 

Ulixes. The experience of time as a moment, a monologue of time. The changing of roles, the inner experience of time and the mind.

We all crave to be out of time. You too! Real stories come alive in our minds, with story complementing, surreal effects. The most important is what you experience of time and how you do it. Ulixes deals with the possibilities of different roles within one person, using the language of music and images. It is an opera of consciousness stating the question: are you inside Time? Or are you out of it?

I made my piece Purcell Picnolepsy in co-operation with artist József Tasnádi who is concerned with interactive art. He developed an electronic system in which sound interacts with image. He defines the sign, the means of contact while its time and quality is defined by the voice.

In the art scene, it is the voice (music) that opens up space, gives meaning and order to the images and is in contact with them. Different voices affect the image in different ways, the image is active.

 

 

 

 

’Instead of mentioning inner time in connection with ’Ulixes’, I think you could rather say that Ágens views time as her own. Her great invention – be it intentional or not – is that she reverses subservience and crossing her limits, she becomes the one who ’commands’ time. She discovers the cracks in the linear flow of time and she also finds the appropriate instruments to do this. The stage (even the auditorium and the café outside) represent different time-planes, through which Ágens can move freely; she can travel from one to the other, unlike her characters stuck in one particular age. In the same way, her voice is also ’travelling’ between different tones, pitches, unarticulated growls and biting melodies. She is ultimate protagonist – existing beyond time, compared to the other characters.’

(Virág Vida: Privatised Time – Színház, January 2006.)

 

'Following Ágens’s work on stage in the past years, her not too frequent but rather inspiring performances have induced a growing impression in me. Ágens is a unique Protean character, who can be unmistakably the same and puzzlingly different in one single moment – and this is not only true to her works in general but can happen within one single performance as well. Throughout her public metamorphoses hardly graspable with words she still seems to be led by one single “goal”: to prove that the truth of receptive positions carved in stone is in fact merely written on water….

 

            She is not an occasional trespasser: Ágens keeps loosening and untying the bonds limiting and paralyzing the artist and the audience eager for excitement. Or she simply tears them apart as she did in her recent work entitled Ulixes.'

Tamás Jászay in kontextus.hu, 2006