ANIMALINSIDE – Jaro Viňarský / SKOK!

Dancer, choreographer and performer, founder of the SKOK! civic association Jaro Viňarský studied ballet choreography at the Academy of Performing Arts in Bratislava (1996–2001), and later furthered his studies in dance choreography at the Academy of Performing Arts in Prague.

Between 1998 and 2000, he was a member of the professional Dance Studio Theatre in Banská Bystrica. In 2006, his solo performance The Last Step Before earned him the prestigious SAZKA Award in the Czech Republic, in the Dance Discovery category, along with the Audience Award at the Czech Dance Platform.

Since 2004, he has closely cooperated with Belgian choreographer Karine Ponties. In addition to choreography, he currently leads creative dance workshops, mostly designed for non-professional dancers and people from other professions.

He is a laureate of the prestigious New York Dance and Performance Award / The Bessies 2013 in the Outstanding Performer category for his project The Painted Bird / Bastard, choreographed by Pavol Zuštiak, a Slovak artist who lives in New York. At present, Viňarský lives, creates art, organizes and leads workshops mostly in Slovakia and the Czech Republic.


Description of his work:

Jaro Viňarský finds impulses for his work in complex intellectual and often current, provocative themes. With his typical lightness, he translates them into a physical language. The noble philosophical opinions presented in his choreographies communicate with audiences using the passionate language of muscles and tendons held in strenuous positions. For Viňarský, vulnerability and the nearly unlimited potential of the body become part of the qualities that create the beauty of intellectual thought. The body in his choreography and interpretation often epitomizes this beauty in its uncompromising nakedness. Confronted with all kinds of philosophical ideas, it vibrates with definitions of these ideas in bodily transience. Viňarský’s art is characteristic for its sparking lightness and playfulness of the dance expression, sophisticated sense of humour and easy distance when working with multi-layered intellectual issues. He eschews any additional commentaries and focuses his choreographies on the essential theme, and, as Hesse would put it, plays with the pearls of ideas.



This performance is a duet based on a literary text of the same title by Hungarian author László Krásznahorkai, and on a picture by German painter Max Neumann. It is an unrestrained physical image of the animal inside man as well as about the effort to grasp the inner world of emotions and instincts. ANIMALINSIDE is a display of the understanding between two humans who share the acceptance of the power in oneself that is even stronger than the taming they have to submit to. It is a belief in this deeper power, dark magic in the game of sublimation. At its core, it is the faith in the body’s ability to speak about freedom in a true language. A suite of poem-like stories told by a figure who seems to be able to augment the dimension of himself in time and space. This drastically shifts his relationship to the material world,  larger than all things,  caught in a tautening moment. He changes and influences the world he can embrace at that moment. As a paradox in the culminating situation, his suffering emerges, a demonic relationship to people, which adds a psychological layer to the shifting axis of his capabilities. Slowly moving naked bodies are only the tip of the maddening inner tension, which is only relieved when the all-embracing nothingness is verbalized. It expands into interplay and also manipulative struggle between two entities, shiftily polarized in confrontations stimulating their identity. The bizarre nature of this relationship produces love and once again returns to the adroitness of power. A cut into an entertainment section embodies mythological magic, rolls over the sharp edge of a knife, and the drama displaying the quest of a master moves into the midst of the audience. In the end, the multivalent fight for dominion becomes a norm and status quo.


Premiere: 13–14 December 2012, Garden – Centre for Independent Culture
Conceived, choreographed and directed by: Jaro Viňarský
Co-creator and performer: Marek Menšík
Light design: Tomáš Morávek
Original music score: Jan Burian
Costume design: Martin Kratochvíl
Translation of texts from English into Slovak: Dana Gálová
Recorded text and voice: Henrietta Rab and Matthiew Rogers
Production manager: Katarína Ďuricová
Production: SKOK! o.z.
Co-production: Garden – Centre for Independent Culture, Žilina-Záriečie Station, Archa Theatre
Financially supported by: Ministry of Culture of the Slovak Republic, Tatra Banka Foundation,  City of Banská Bystrica


Trailer to the production can be found at this link.
Author: Peter Kotrha

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© 2010 Divadelný ústav – Všetky práva vyhradené. Divadelný ústav je štátna príspevková organizácia Ministerstva kultúry SR.