“Thanks for the constant and devoted love of my family, for the painful beauty stirred up by my lovers and the dance…”

Choreographer: Márta Ladjánszki 

Dancer: Eszter Mórocz

Lighting designer: Richárd Németh

Music: John Adams “Viloin Concerto II.”

Costume: Butterfly

Supported by L1 Independent Artists Association of Public Utility

Studio use support by Trafó KMH – Workshop Foundation

The solo performance was premiered in Spring 2000 in the frame of I. Solo Festival (organized by Márk Fenyves and István Pálosi – Orkesztika Foundation) at Józsefvárosi Pódium és Klub, Budapest. 

Prizes: 

1st prize Best Solo Performance and special price of the Trafó KMH  and Workshop Foundation, 2000 1st Solo Festival, Budapest (H)

1st prizes, 2004 Jarmila Jeřábková Competition and Award, Prague (CZ)

On this anniversary occasion, a new dancer performs the solo, symbolically taking over the baton from Márta.

“Jungen Hunde (Youngblood) is a network composed of venues and organisations from European countries from Belgium to Slovenia. In April [2003] Yorkshire Dance, the national dance agency that is the networks’s UK branch, presented a one-off showcase of eastern European soloists in its intimate studio space. 5 Pounds tickets equalled great value, especially given the programme’s quality and freshness.

Hungary’s Marta Ladjanszki rather hauntingly demonstrated that blondes don’t necessarily have more fun. With thick, muscular legs and a sombre demeanour, she is hardly a conventional dance beauty. That’s partly what makes her so watchable. The opening of One is starting: bare-chested, doubled over and wearing pointe shoes on her hands, she raised one enquiring, ramrod-straight leg to the ceiling while balancing rock-solidly on the other. The rest of this short piece, staged in a sickly yellow light, was beautifully judged. Ladjanszki’s pared-down, Nijinskyesque geomertrics question the function of hands and feet, face, breasts and, indeed, the entire body.”  (Donald Hutera, Youngblood 03 (Junge Hunde), Yorkshire Dance, Leeds, England)

Choreographer: Márta Ladjánszki

Dancer: Márta Ladjánszki, Rácz Eszter

Lighting design: Richárd Németh

Costume: Butterfly

Supported by L1 Independent Artists Association of Public Utility

Studio use support by Trafó KMH – Workshop Foundation

The solo performance was premiered in November 2000. in the frame of Inspiráció evening (organized by Workshop Foundation) at Trafó KMH, Budapest.

"I am who I am"

by myself, through you all -

and in the clear eye

I can catch sight

of the only eternal child

and the mating animal

(György Petz )

"Sobbing, panting, shaking, her upper body undulates, the whole great cellular ensemble cries, the prisoner community of cells, and the female breasts cry, strangely created on the chest. Ladjánszki's hand torments these breasts in the most amazing way, in the wildest rhythms, pulling-twisting-draging-zapping, punishing in a hundred different ways. A punitive crusade against the flesh, a regurgitation of harm – a small satisfaction in the quivering shell of flesh."

“The self-confession of imperfection is warmly honest, disturbingly bold, yet childlike." 

“… Perhaps Ladjánszki Márta was the only one of the participants, who excelled not only with her embarrassingly curious and incitingly brave choreography but also with the perfection of her performance… The dancer known from Kompmánia won the possibility of this performance at the I. Solo Dance Festival… Ladjánszki is worthy of trying the role of choreographer: she is one of the few dancers in Hungary who can use her body in an individual way. She does not tell a thought, a story, a feeling or a rite but tells the body itself. Two is a body-story, more precisely the story of identity, which falls in with the story of the body in this case. First, she appears on the stage in a full-length dress with her face covered just like a blind and deaf alabaster statue, who has no sense of the outer world… A white-skinned, full Baroque female figure; a statue in creation and the sculptor herself: all this is Ladjánszki Márta…” (Ellenfény, 1. 2000)

contemporary immobility 

Thank you for your soft words, your warm look, for calling and forgetting me.

Choreographer: Ladjánszki Márta

Dancer: Zsófia Szász

Lighting design: Richárd Németh

Set design: Balázs Károlyi

Costume: Butterfly

Supported by L1 Independent Artists Association of Public Utility

Studio use support by Trafó KMH – Workshop Foundation

The solo performance was premiered in Spring 2001 in the frame of II. Solo Dance Festival (organized by Márk Fenyves and István Pálosi) at Trafó KMH, Budapest. 

Prizes: 

3rd prize, 2001 2nd Solo Dance Festival, Budapest (H)

“I am covered by shadow, sometimes light, rain or frost.

For long – here, and as life goes by,

I imagine somebody comes this way, then leaves.

No greetings, no fear, they have to know me,

They even don’t watch at me, neither my smell nor my body are

strange for them, they just pass by.”

(György Petz)

On this anniversary occasion, Zsófia Szász performs the solo, symbolically taking over the baton from Márta.

“Hungary’s Marta Ladjanszki rather hauntingly demonstrated that blondes don’t necessarily have more fun. With thick, muscular legs and a sombre demeanour, she is hardly a conventional dance beauty. That’s partly what makes her so watchable. (…)

Lit by a small dim bulb and set to a distorted soundtrack of strings, growls and bathing sounds, Stretching Thighs was equally stringent. Bare-chested again, Ladjanszki started hunched then arched on the floor and wound up upright and bare-assed in a little aqua top. The tone of this exacting, mysteriously minimalist work suggested an attempt at self-cleaning exorcism.” (Donald Hutera, Youngblood (Junge Hunde), Yorkshire Dance, Leeds, England)

In honor of the friendship and the faith.

Concept/Choreographer: Márta Ladjánszki

Performers: Márta Ladjánszki and Zsolt Varga

Music editor/Performer: Zsolt Varga

Light: Richárd Németh

Costume: Butterfly

Supported by L1 Independent Artists Association of Public Utility

Studio use support by Trafó KMH – Workshop Foundation

The solo performance was premiered in 2008 first at New York City (USA) and right after this in Seoul (KOR).

“In a dignified state

I stand in the stolen moment.

I am straining myself against time,

but who shall I give birth to – I wonder.

Surrounded by a disciplined silence

I dread that only

my shadow is rejoicing.

I am growing tired, am not even within myself,

and you’re here, still at my innermost.”

“A beautiful graphic abstraction on a metamorphosis (…) Márta Ladjánszki, who stands out among the more abstract choreographers, exhibits her maturity with butohesque brio” (LT #20)

“Silence is Okay! – a solo piece by Márta Ladjánszki has its debut in 2008 in New York followed by an immediate premiere in Seoul. The showing of this piece came just later as an off-program of DunaPart 2008. "Márta Ladjánszki stands out among the more abstract choreographers. Her solo, Silence is okay! combines fragments of earlier works, all of which demonstrate her singular strength and power." "It is a thirteen minute-long piece in which the „solo-specialist" dancer moves around the stage half naked in a white underwear: the metamorphosis is hidden in a tight, concentrated and astoundingly crafted dramaturgy. The „human-animal" of Ladjánszki troddes around on four hands at the beginning then gradually turns into a disciplined and amazingly peaceful guru/yogi. The sax solo played by Zsolt Varga at last helps her body to crawl out of the scene as he acts out his 'folkish' fox-dance for the Amanda Lear ‘Give a bit of hmm to me' melody. No unnatural meaning for effect can be traced down in Ladjanszki's nakedness partly because she rules her own body with superior safety. Each of her movements and gestures are harmonic, true and artistically beautiful." (Krisztina Horeczky)