Ars Poetica

intellectual credo/ethos and creativity
The most important thing at Artus is the creative energy, that, besides the creation of artistic products, requires a persona with creative powers, able to lead – primarily one’s own life – proactively. Creativity is basically life energy.

 

Independence – freedom

All of us here have decided from their own will to spend most of their time in an unheated factory building with broken windows. The freedom of choice in itself is a footstone of freedom.

However, real freedom does not mean that we can do whatever, it doesn’t even mean that we do whatever we please, but it means that we understand what our task is in this world, what we have to do, and that we are able to want to do that and carry out the necessary actions.

 

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the creator and the spectator

Our creations mirror our existence – who we are and where we live. However, a real piece of art is not about us, not about the creator. It isn’t valuable unless it reaches out to the members of the audience, it speaks to them, touches them, it makes them realize their own presence and reflect on their existence. Discovering themselves, remembering  their true self upon encountering a piece of art: this is the common magic of the artist and the audience.

 

While percieving a work of art, we repaint the picture with our gaze, we rewrite the story. Attention and remembrance peels the artificial layers off the piece of art and what remains is a personal icon, a sign pointing to us – in a work of art there lies the promise of harmony between the individal self and the world.

 

Every action of art is a manifestation that is an analogy to life, or maybe even to the rules that define the nature of life. Rules of art and thus, theater are not defined by man. The creative man wishes only to find the the laws encoded in the human soul, actions, stones and stars.

 

contemporary and alternative
The contemporary-alternative thinking man is not fond of rigid conventions, but uses tradition as a base and is actively open to change.

Alternativity is not an institutional or qualifying definition, but a credo, a philosophy, lifestyle and a method of work.

 

Contemporary-alternative performances, creations have their own, internal language. The tool kit, style and internal logic is formed by the creative process itself and not by some predefined directorial or professional rules, habits or expectations. The

question is: is the emotion, is the concept created in the spectator that what he/she sees is based on a wholistic and clear inner structure, a unique language. In order to find this unique language, there is need for an open, experimenting work process. In such a creation process, participants often discover unknown realms where numoreous, seemingly deffinate and idestructable rules loose their validity. This is unbelieveably interesting and isnspiring, and at the same time, infinately risky, too, because it is not guranteed that  the performance in process will be compatible with the usual professional expectations or expectations of the audience. At all.

 


Artus = the art of phenomena
sign, significant, scene, scenery, stigma, presence, present, meaning, meaningful, phenomenon

 

These words all have the same word stem in Hungarian, the mother tongue of most Artus artists.koiskola

 

The world of phenomena is a metaphysical reality. The substance of the phenomena is the sign: a vision unfolding itself through the course of our lives – momentary but of great expanse. Visions are veiled by the superficial happenings of life, wich are visible only to those who are attentive enough at the right moment. Who are present.

 

In an artistic sense of menaing, Phenomena is created by the performers and the audience together. The sign and the seeing of the sign – this encounter creates the phenomena, wich is formed given that this meeting is intense enough to condense the inner time of the moment and explode it. This is when the moment becomes eternity. This is when the segregated individual connects to the other individual, to the world, to the universe. Separation is eliminated. The dream of eternal return becomes the absolute reality for that moment. For me, this is the essence of theatre, the moment of chatarsis. With each performance, we seek for a new possibility for such an encounter. Such a meeting is not an instant decoding and analysis, but  falls into the realm of emotions and intuitions.  Looking at life with such intensity, we get to the metaphisycal reality where we are convinced that in the given moment we finally see reality.

 

For me, the essence of theatre is not the piece itself, but the quality of the situation (the encounter) in wich the poeple (artists and the audience) take part. In a theatrical situation – which once used to be called celebration, rite, ceremony – leads its participants to a dimension where the chasm between the segregated, lonely individuum and the community disappears. Ritual theatre wings the commmunity, all participants of the encounter to a mythical world, where the individual can finally become his/her true self, because the personal existence does not strain against the community in wich they have to live. The matter and the tool of theatre is the performer, the performance, the dance, the word, the space. The essence of theatre is not even the artistic product itself. These all are but tools to make a transcendental and transubstantiative situation happen.