Author: Zuzanna Berendt.
The four seasons motif in culture symbolize cyclicality — the constant process that tangles together death, decay, rebirth, and flourishing of the world. However, significant differences exist between the phases of the cycle of four seasons, and the unique characteristics of each of them can inspire artists in different ways, offering specific aesthetics for their works and varied experiences for the audience. The most famous Western cultural work based on this motif is Antonio Vivaldi’s Four Seasons—a series of compositions in which the Baroque composer translated the characteristics of landscapes and weather into music. However, it is worth underlining, that his compositions are not just about creating music representations of particular seasons. Winter by Vivaldi does not merely evoke a different image than Spring—it also triggers different emotional and affective states in the audience, we feel it in a different way in our bodies.
Central Europe Dance Theatre – Four Seasons by Maciej Kuźmiński. Photo by Grzesiek Mart.
Maciej Kuźmiński titled his new choreographic work—created in collaboration with the Central Europe Dance Theatre—Four Seasons, drawing inspiration from folk culture to structure the dramaturgy around the changing seasons. In traditional folk cultures, human dependence on nature’s rhythms is particularly poignant. Temperature and sunlight regulate agricultural work; dictate how time can be spent—out- or indoors—and influence whether it is a time of scarcity or abundance for people and their non-human companions.
In the opening scene of the performance, our attention is drawn to soft, luminous reflections creating a mosaic-like effect on the floor. A dancer lies on the floor, slowly awakening, rising, and beginning to move. As his movements expand, the space seems to come alive, and in line with this gradual awakening, more people appear on stage, forming a lively yet unstructured group at first. The final scene presents a contrasting image: the entire ensemble is visible on stage, in full lighting, appearing as a painting—frontal composition with a clear center occupied by a female figure (the mother? the bride? the earth?). The specificity of the initial and final images evokes a transition from a pre-symbolic dimension—associated with the earth and the raw materiality of the body—to a cultural dimension, where the role of symbols, verbal communications, and intergenerational inheritance becomes significant.
Central Europe Dance Theatre – Four Seasons by Maciej Kuźmiński. Photo by Grzesiek Mart.
Kuźmiński varied the number of dancers on stage at different moments of the performance and employed diverse forms of movement structuring. Four Seasons features solo performances, where the group acts as a backdrop for an individual dancer; duets (sometimes multiple performed synchronously); and group sequences. Interestingly, the skills and energy of the Central Europe Dance Theatre ensemble shine most not in the group sequences, which are somewhat weakened by minor technical flaws such as timing issues and imperfect synchrony. However, watching the Hungarian company’s dancers—Réka Gyevnár, Marcell Hován, Gábor Kindl, Edmond Kisbakonyi, Noémi Gizella Nagy, Berta Pucsek, and Lídia Sinka—is nonetheless gratifying, as they themselves seem to genuinely enjoy dancing. The material Kuźmiński has created for them is demanding both technically and physically. Since the Kraków show was a pre-premiere presentation, additional rehearsals and subsequent performances in the touring schedule will likely help refine the execution of the movement material.
Throughout Four Seasons, the pace and intensity of movement remain quite high. While this draw the admiration for the dancers, it paradoxically produces an effect opposite to what was likely intended. The lack of variation in the intensity of performance; the absence of tension between different spatial planes; the rhythmically monotonous music, and the overuse of repetitive choreographic elements (such as spins) result in a somewhat tiresome viewing experience. It’s hard to stay alert and curious about the unfolding actions when the unvarying pace of these actions rather lulls than stimulates one’s attention. This is especially surprising given that the motif of the four seasons—each with its own distinct quality—could easily propose a more varied and engaging dramaturgical structure. Watching Kuźmiński’s performance, it is really difficult to discern how the choreography engages with the themes of cyclicality and seasonal change.
Central Europe Dance Theatre – Four Seasons by Maciej Kuźmiński. Photo by Grzesiek Mart.
Despite the obvious visual associations that the folk culture of Central and Eastern Europe evokes—colorful costumes, floral wreaths, and decorative motifs—the costumes in Four Seasons were chosen with certain restraint towards the aesthetic well-known in this part of Europe. Seemingly it was so to avoid slipping into folk kitsch. The dancers wear everyday clothing, selected primarily to ensure freedom of movement. However, the key element for the performance’s aesthetic is their color palette—ranging from light beiges to pale browns and delicate greens. These natural, muted tones associates the dancers’ silhouettes to nature and its color palettes. The costumes were designed by a team of students from the Moholy-Nagy University of Art and Design (Andrea Kovács, Ádám Ellenbacher, Laura Hoover, Laura Kókai, Zita Szimonetta Lóki, supervised by Edit Szűcs).
Four Seasons can be described as an elegant work—choreographically, musically, and visually. Yet, despite the evident dedication of the dancers, the performance lacks vitality. The dramaturgy feels dull, and there is no compelling conceptual premise that introduces a fresh perspective on the well-worn cultural theme that is mentioned in the title of Maciej Kuźmiński’s choreographic work.
This text was written by Zuzanna Berendt within the framework of the Beyond Front@: Bridging Periphery project.
