Artists answer… in one breath

A continuous state of transformation, and the quiet acceptance of endings.

The persuasive power of unison and synchronicity, expressed through its opposites: the military body, especially as embodied in parades, and the hedonistic body expressed through folk dance.

A need to confront the quiet violence embedded in everyday social and political behaviour.

Kristýna: The force of constantly searching – for depth, meaning, and something real. Listening to the source of creativity, but also to the inner darkness that lives within us, and finding freedom in accepting it and being inspired by it. But the main force behind the piece is the collaboration with Enya Belak. I feel that we hold and creatively nourish each other in a very powerful way, and there is a deep trust in jumping together into the unknown.

Enya: The friction between fragility and endurance, and the light born from darkness.

The tension between the digital and the physical, as well as the thin line between entertainment, spectacle and violence.

Moving through a space continually shaped and reshaped by light and concealed props.

We hope its metamorphic system which, through the ambiguity of form, unsettles the aesthetics and dynamic of violence. But ultimately, the audience is the best interlocutor for this question.

Its shift from raw social realism into speculative fantasy where power and gender lose fixed meaning.

Kristýna: The merging of movement and video projection, together with its poetic quality and symbolism; also, the transformation of a personal story into something much more universal – something that can trigger a need for self-reflection in many people.

Enya: The merging of movement and video projections in a live coexistence.

It’s a highly interactive work where the audience is given space to talk to our NPC performers, who provoke, seduce and analyse each audience member, offering space to reflect and question one’s own complicity.

Creating and sustaining the conditions, atmosphere, and sensitivity needed for the work to unfold.

Achieving a strong performative intention while following a strict numerical score.

Finding a form that could hold both political urgency and emotional ambivalence without simplifying either.

Kristýna: The limited budget, which meant that most of the process took place in small spaces, where the video functions radically differently from the full stage environment; also, the very limited time in the venue where the premiere was presented.

Enya: The difference between the video and body workflows was significant: time moves differently in each process, and trying to synchronise them – while painfully waiting for yet another render to finish – was a real challenge.

The work requires excellent improvisational skills and a very specific movement language, so the dancers have to speak, think on their feet, and perform as digital avatars all at the same time.

An audience entering the work without prior preparation.

We hope to create a democratic aesthetic capable of reaching all audiences by evoking concrete and recognisable references.

People willing to sit with discomfort and question the systems they unconsciously participate in.

Kristýna: The wish is to reach a wide audience, not only professional dance viewers. Receiving feedback from people who encounter contemporary dance for the first time – or who do not experience it very often – gives me a mirror and often brings the most honest and transparent responses. In my work, I am interested in how an artist can remain truthful to their own interests while continuously playing with the format in a way that makes the work inclusive not only for professionals, but also for audiences who may not yet have much experience with dance.

Enya: An audience willing to move through fragmented landscapes of mind, sound, and dance.

I would like to reach the people outside the bubble of contemporary dance, which is why the work speaks boldly to youth and its aesthetic aims to invite a new audience.

Places where the presence of the work can open new perspectives on the region it comes from.

To areas where conflict and borders are sensitive issues that still need to be emotionally processed and critically questioned.

Europe.

Kristýna: As many different places and cultures as possible, because every country carries its own history and cultural context, allowing the piece to open up new layers of meaning and evoke different kinds of feedback.

Enya: To any dark place that can be transformed by a touch of our magic.

I would love to bring INSERT COIN / PLAYER ONE to the UK, Canada and South Korea.

The work moves through different phases – from soft, cold light to warmer, liminal, and fragile states. I associate it with mist, water, metal, and skin. Its texture is smooth and later porous, filled with cracks.

Smell: burnt rubber and grass fields
Taste: earth
Texture: light volcanic stone
Colour: red

Mockumentary smells like cold air, tastes like concrete, layered with cigarette smoke and the faint metallic trace of coins, the colour is dirty grey, and sometimes neon, and the texture feels rough, unstable, and continuously in motion, like standing on a platform that never fully arrives.

Kristýna: The performance smells like jasmine, tastes like dark chocolate, and its texture feels like melting metal. I associate it with the alchemical colours of white, red, and black.

Enya: It smells like burning cherry wood. It has the texture of paint slowly peeling from a wall. WhiteRedBlack is the colour of the piece.

The piece smells like an artificially sweet and exciting smell, it tastes like a hint of blood in your mouth after a punch, the texture is that of tightly clenched muscles, firing on all cylinders, and the four colours that are key to it are visible in the piece itself, so you have to come and see them.