Petra Fornayová
Petra Fornayová studied dance at the Academy of Performing Arts in Bratislava and at the EDDC Düsseldorf and law at the University of Comenius Bratislava. Except for different courses she participated regularly at the MAPA workshops (Moving academy for performing arts, Holland). She was among others member of SST contemporary dance group, dancer of the State Opera Banská Bystrica, guest member of Théatre du Mouvement, Paris. She performed in many dance and theatre projects of Slovak and foreign directors and choreographers (P.Groll, A. Green/USA, M.Fulkerson/USA,DE, C.Heggen/FR, M. Hawkins/GB, etc.). Since 2000, she has created her own choreographies (Halfmoon Bear, Little Stories, Kirin, Deep Disorder of Epidermis, etc.). She participated at the festivals Tanec Praha, Festival d´ Otoňo Madrid, Mediawave Festival Györ, Bratislava in Movement, Divadelná Nitra, etc. She also teaches contact improvisation, writes for contemporary art magazine Vlna, organises dance productions in the frame of A4 – space for contemporary art in Bratislava. Since 2001, she is in charge of Contemporary Dance Association in Slovakia.
PROJECT
‘Extravagancy is the name of the play of Rafael Spregelburd – one of the Heptalogy of Hieronymus Bosch. I am working with the drama text to develop it in to a performance, where in the same value I would like to use both speach and movement.
I have decide to work on this play becausae the theme is both very personal for me and very general. Personal in the way of describing disfunctioned realtionships -among 3 sisters (if they even exist), between mother and daugther(s). But it could be also very different story: no 3 sisters, just one dealing with a problem of own unmaturity showing 3 different side of her being. This double possible explanation of the play for one performer (playing 3 sisters) with a lot of references to other art pieces offers a wide range of interpretation which means a great challenge for the director / performer. The other – more general – reason of my interest towards this play is in its form – use/type of the text creates great opportunities for playing with it – focusing e.g. on the opposites „text/non-text“ (text with a relevant content/text used formally with an emptied content)’.
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Supported using public funding by Slovak Arts Council.