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summer main event

research or die.

© peggy kaplar

b12 summer main event


location: eden***** studios


Adrienn Hód



On the Edge of Understanding and Meaninglessness

During studio work, Hód creates intimate situations in which dancers are offered space and trust to open their physicality. Her method is based on improvisation that appears in a structured frame on stage. During the workshop contents building up from physical and abstract elements will be examined, as well as the boundaries of the understanding and the Meaninglessness. At work, expression as such fills me with joy and sense of necessity, but other times I regret and suffer from the struggle of understanding the meaning of each happening, form, step, shift of space, music, costume, light, even the nature of being a performer. Experimenting is the way of learning the very functioning of the World. We try to find meaning in what occurs to us. Inputs coming from other directions than the rational and direct apprehension are put in the centre of my works, and those sensations, perceptions, emotions and sensibilities strike the human from a different stand.

some workshops offer group improvisation or partnering. these workshops elements may or may not be possible and the teachers and choreographers will modify their workshops accordingly in line with the health and safety measures required at the time. please stay flexible. thank you!

Adrienn Hód's main profile is experimental movement and contemporary dance. She choreographs theatre pieces, films, TV advertisements, live performances and events. She regularly teaches improvisation and gives workshops related to Hodworks pieces. She was born in 1975 in hungary. She graduated at Budapest Contemporary Dance School. She founded OFF Company in 1995, then Hodworks in 2007. In 2008 she was participant of Meeting Points, a Hungarian-American artistic program. In 2010 she was awarded the Trust for Mutual Understanding grant, and in 2011, she was resident at Tanzfabrik, in Berlin. Her first breakthrough came with Basse Danse in 2011, and ever since then, her pieces have been born on a very regular basis. Three of them were selected into the Aerowaves 20 Priority Companies. In 2017, she created her piece, Solos, for Hodworks, which had an important international acclaim, while creating pieces for the Slovenian En-Knap group and the Staatstheater Mainz. In 2018 she premiered Sunday, which was also presented in the Theatre section of the Biennale di Venezia 2020. while her cooperation started with the Goethe Theater in Bremen, the infamous Coexist, from 2019, was shown at the Tanzplattform Deutschland in the beginning of 2020. Mirage, a highly political piece, was born in 2019, followed by Another Dance Show, in 2020, reflecting on the status of the Artist as such, and Amber, in 2021, echoing to the intimacy of how much was missed during the Covid times.



Hodworks was founded by choreographer Adrienn Hód, in 2007. Besides permanent members, the Budapest-based international company works with artists invited from different field of arts. Hodworks pieces, always taking a new and progressive direction, are result of a long, creative body research based on improvisation. Her company, Hodworks regularly appears at international festivals and theatres. she develops productions in which she deconstructs contexts of body, movement, space and music, rebuilding them in surprising ways. Hód conceives of theatre as a safe space in which topics and discourse may be fathomed to the full extent of their depths, and made visible artistically. she always tries to push the boundaries of performative depiction and to open new space for perspective and narration behind taboos and conventions of gazes and expectations. Her plays arrive at completely new dance forms and dramaturgic principles, again and again, radically rethinking the possibilities inherent in contemporary dance. HODWORKS emphasises the complexity and radicalism of personal expression, laying bare the multilayered constructs of identity. In this manner, Adrienn Hód’s works may also be read, in the context of endangered artistic and personal autonomy, as marking a movement of defence and of re-obtaining said autonomy. they do not compromise; they do not want to please.



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