A solo lecture-performance, continuously moving its center of perception, always switching its basis of representation. The performer describes memories, imagination, impressions, changes points of view in the story and tries to link her train of thoughts to the present moment. What is there that can not be seen? Which is the moment where we create meaning? How text, sound, image and sensations complete each other to make us understand a phenomena as “experience”? And how do these contexts define the experience of dance? A mixture of expressions creates narrative to a performance that is – or not – present.

Anna Biczók is a dance artist, performer, choreographer based in Budapest, Hungary. She has been working as a freelancer – doing both collaborative and own work. As a dancer she has worked with HODWORKS, The Symptoms, Berlin based theatre group bigNotwendigkeit, Timothy and the Things, Viktor Szeri. Her work Precedents to a Potential Future premiered in Warsaw Body/Mind Festival 2017 and since has been invited to Ljubljana, Birmingham, Best of BE Spain and UK Tours, Bâtard Festival Brussels, dunaPart Platform Budapest. She creates movement-based performance with exploring inner sensations, body-mind states and fantasies with the focus of finding physical forms to the non-physical territories of the inner world. Her style involves movement and theatricality with playfulness and humour, rooting from personal experiences and autobiographical inspiration.

“Different layers intersect each other, one story permeates and summons the other, just as one movement usually evokes the next one. A singular play of virtual and actual dimensions is evolving, where potentials and real accomplishments are accumulating and slithering on each other. Through the sustained playing with that, narrative logic becomes instable, yet the belief in the world of contingent and coexistent shifting is strengthening. This also opens up the possibility to subvert the usual linear-successive time-sensing. In fact, Precedents to a potential future denies reinforcing the honored position of the present. Moreover, present is postponed, a putative promise that may never come. Only the future and the past are circulating in an unpredictable order, in which time is choreographed as a movement.”
 (Zsuzsanna Komjáthy, dancefeed.org) 

“Biczók takes the role of narrator – guiding us through a story of experience, first from her eyes, then from the eyes of the audience watching her watching us, then through the eyes of her mother watching her as we watch them both. It sounds more confused that it is, and thats on me and my lexicon. But Biczók has a commanding charge of the space around her – with robotic, almost violent at times, movement and expression. It makes me, and I suspect a few others in the audience, want to get up on stage and see it all from her side. But I guess that’s the point.” 
(Ed King, birminghamreview.net)