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photography © 2005 Thomas Körtvélyessy (left) ©
2005 Cor Kapaan (right)
Thomas
Körtvélyessy
artistic director,
choreographer, dancer, performer, teacher,
cultural thinker, writer
born 1972 in Hanau,
Germany, living in Rotterdam, Netherlands since
1992
co-originator & inventor of the name
con·sens·us
long-term study and research of the work of
intermedia-pioneer Elaine
Summers since 1993
2007 certified teacher in Summers' movement
approach Kinetic
Awareness ®
2004 MA choreography
DANCE
UNLIMITED profile: Open Form Composition,
ArtEZ Dance
Academy Arnhem
2000 / 2001 guest student EDDC
(European Dance Development Center) /
Dansacademie Arnhem 1996 guest student SNDO (School for New
Dance Development) Amsterdam
1996 BA equivalent, teaching
modern dance and dance improvisation, Rotterdamse Dansacademie /
codarts
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artist statements

Hessenhuis, Antwerpen (BE) 2007
video-still by Dwight
Marica / Cucosa
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Thomas
Körtvélyessy re-searches, re-forms and re-connects already existing
structures in a highly individual way, to
literally make sense in the moment.
Over the years, this has made him an inventive
and thorough searcher, and an articulate
choreographer, dancer, performer,
teacher, and writer.
Körtvélyessy explores adventure and diversity
with craftsmanship and responsibility,
combining a very broad & historically
rooted training of European and American
theatre dance within awareness and interaction
with other disciplines.
His performances are marked by conceptual
simplicity and a very honest and strongly
sense-able kinesthetic way of embodiment.
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Reàl Dance Company
is the name of Körtvélyessy's one-man
enterprise under which he has consistently created
solo- and group pieces over the last ten years. This
has happened in own productions as well as several
project-based collaborators
exploring very different contexts that are linked to
movement. Performances were realised in galeries, small
and alternative venues, theatres, as well as
outdoors-locations in the Netherlands, Germany,
Budapest and New York City.
available tension / sensitive energy
and con·sens·us
are two specific trademarks of
his work.
Both practices work with
the living moment of performance. All present elements
and participants of a situation (performers, audience,
stage, music, visual elements etc.) are considered at
any moment in their sense-able quality and condition of
energy, weighed against each other to arrive at the
best possible moment-to-moment decisions, in order to
fulfill the specific intentions of the piece or what is
needed to happen at optimum efficiency.
"Set" arrangements become an expendable
option, to be used when useful, rather than a
constantly demanded condition. Hard-edge frames make
way for soft-edged centers, with a stronger core &
more dynamic potential. This open-ended condition is
not only reflected in the movement technique, but also
in the choreography and the performance of the
pieces.
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teaching
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artist
statements:
Performance
can create a connecting moment of here and now,
with direct human presence - no need for
substitutes, "abstractions", or mucking about, or
anything coming in between.
My goal as
an artist is to help develop and encourage
individual sensitivity and expression through
the perspective of dance. This can happen along
the entire spectrum of human experience. All
the layers count, each in its own
right.
form = function
- any function is manifested in its very own
form
- "non-form" simply means the speaker hasn't
understood a present form just yet...
- "formlessness" is a good indicator for
in-formation, more reliable than many (former)
forms that would merely offer assumptions
instead of presently formed shortcuts and
overview, formed by the response-able
individual or group of individuals over space
& time...
Tradition is important to me as a collection of
comparable and original attempts to make life
better.
If actual sensitivity can re-balance tradition
successfully, then fundamentally more stable
and stronger connections and methods will
result.
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I want to
face the unknown, what is beyond my individual
patterns, make us all more acquainted with situations
where we don't really know what is going to happen
next. I believe this can be trained, just like good
dancing or any other craft....
Consequently it can become easier to deal with chaos
and unpredictability through successful realisations
of our creative imagination, helping the development
of viable alternatives to present-day problems.
I am enamored with movement as change and potential,
the fundamental experience we have of our
existence.
Utopia, paradise, flying, you name it. I seriously
believe that this is possible, that it can be
realized and I believe that am working towards this,
together with many others
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Love
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X
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freedom!
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maximum
love
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maximum
freedom
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black & white photography
© 2008 by Konrad
Szymański used with kind
permission from a workshop
Improvisation by Claire O'Neal (Brussels)
organised by Rita VIlhena / Baila Louca
Rotterdam, Netherlands 2008
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