Everywhen – Soňa Ferienčíková, Mária Júdová, Alexandra Timpau / BOD.Y o.z.


Soňa Ferienčíková is a Slovak dancer, performer, choreographer, pedagogue and founder of the civic association BOD.Y ( She received her professional education in Eva Jazcová’s Dance Conservatory in Bratislava, the Academy of Performing Arts in Prague, the Royal Conservatory in Antwerp, and the prestigious SEAD – Salzburg Experimental Academy of Dance. Besides contemporary dance, she also does experimental and documentary theatre, as well as dance film. During her studies and professional career, she has collaborated with numerous Slovak and international choreographers, directors and ensembles, such as: Juan Manuel Ramos Avilla, Ivana Dukic, Marc Vanrunx, Filip Van Huffel, UNITED-C Company, T.R.A.S.H Dance Collective, VerTeDance, Spitfire Company, Renan Martins de Oliveira, Lucia Kašiarová, Davide Sportelli, Jaro Viňarský, Peter Šavel, Petra Fornay, Marold Langer-Philippsen, among others.

She has performed in the Czech Republic, Hungary, Germany, Poland, France, Belgium, the Netherlands, Spain, Scotland, Portugal, Bulgaria, Greece, Israel, Mexico and China.


Description of her work:

In the context of contemporary Slovak dance, dancer, performer, choreographer and pedagogue Soňa Ferienčíková is an eminent personality with a distinctive style of expression. She is characteristic for interconnecting the native expression drawing from the depths of the libido, and for her precise control of expression in the structures of her imagery. The aesthetics of her movement is unrestrained and passionate, yet ingeniously apportioned, using precise punchlines and bold confrontations with intellectual topics. The diffusive cohesion of the movement, visuals, sound and lighting in Ferienčíková’s performances creates imagery of exceptional intensity. The movement material she creates in her choreographies is typical for its almost ritual-like repetitiveness of distinctive movement structures. The interwoven structures themselves are precisely articulated and follow a thorough rhythmic system. It is the minute detail and the clarity of the movement and dramaturgy structure of each choreography that create a bridge between the fragile intimate expression, passionate movement poetics and fascinating rawness of the choreographer’s and performer’s authenticity.



An intermedia solo performance about the constant rotation of history, polarizing – in sharp contrast – the image of a loving, soft and good personal life, and the reality of social and societal integration of an individual, which can be often malevolent, hateful and revengeful. It presents images of people who are close to each other and who face the threat of history repeating itself in a horrifyingly familiar context. In these images, Soňa Ferienčíková enquires about the possibilities of how such repetition of history could be prevented, particularly if we seem to have certain ideologies written in our DNA. Ferienčíková provokes us with her doubts about how much we can be critical of our own worldview, especially if it was co-created by our closest ones. The mutual confrontation of these questions catalyzes the stage whirlpool in the gear of history. Such rotational trance, as interpreted by Soňa Ferienčíková, then becomes a concentrated way of thinking, placing existentialist identification issues deep into one’s being, into the energy centre of the body.

Ferienčíková conditioned the concept and choreography of Everywhen by close cooperation with authors of the visual and musical elements. Alexandra Timpau’s musical arrangements are interwoven with the dynamics and tension of the movement, accelerating the frequent accumulation of energy in the movement sequences. Mária Júdová’s visual material is made up of images projected onto three vertical planes, which shimmer on the floor like mirrors and epitomize the inner world. The images set up a symbiotic relationship with the dancer, letting her swallow the illusion of a grinding and crushing gear. Subsequently, they contrastingly react to the impulse of the dancer’s subtle gesture to send spinning a fatal kaleidoscope of family correlations. Ints Plavnieks is the author of light design and also collaborated with Ferienčíková on the stage design. The visual concept offers a microscopic view of the essence of our social bonds, alternated with the general nature of the public prism – it balances on the sharp edge of a private, intimate attitude and unitarian vulgarity.


Premiere: 12 February 2018 Prague, Alfred Theatre in the Courtyard / 21 April 2018 Bratislava, Studio 12
Dance concept: Soňa Ferienčíková
Visual concept: Mária Júdová
Musical concept: Alexandra Timpau
Light design, technical cooperation: Ints Plavnieks
Movement cooperation: Martina Hajdyla Lacová
Production: BOD.Y – Zuzana Hájková
Technical support: Andrej Boleslavský, Constantine Nisidis, Sara Pinheiro, Matěj Šenkyřík
Costume cooperation: Daniela Danielis
Co-production: Motus, production of the Alfred Theatre in the Courtyard
Partners: GAFFA civic association, Intermedia Institute, Lunchmeat studio
Residence: Žilina–Záriečie Station, Studio 12 Bratislava
Financially supported by: Art Support Fund


Trailer to the production can be found at this link.
Author: Mária Júdová



RSS FaceBook YouTUBE
mapa stránok | Prehlásenie o prístupnosti

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