Sára Simon: A first-person singular manifesto – about courage
I choose freedom: first-person singular manifesto, monologue, a human life, which after being formed in Zoltán Balázs’ artistic furnace, can captivate us with itself, it shows an exclamation mark.
It wants your ideas, it gives you the chills and digs deep into, it shows shockingly, mercilessly, it frightens us without any nice things, pulls us into the swirl, and you have only the hope that finally it will absolve you. It has effect, it gets under your skin, and it needs all your tiny parts, while you are afraid of it, again and again, that life is full of such fates and shadows. It makes you face up with and fills you, and does not only captivate you there, but does not leave you for a while.
It is a first-person singular manifesto about freedom, however here is one present time too.
Zoltán Balázs’ art is a first-person singular manifesto about courage. It is about the meaning of finding and touching the taboo, getting it, taking it, not being afraid of it, accepting it and giving it on. That way we can make it not be the past, not be able to avoid it. It is courage, it is a courageous fight with risks between white walls, while keeping eye contact with the viewers who are suspicious and who are left alone without any help, who cannot know when they enter the room, that they have got their tickets during the first moments for the rushing train, and they are on their way to the land of horrible things and their only partner is their attention. It is courage, he takes into his hand the unknown people’s fantasy, then he builds it up and with ruthless punctuality he takes them into close distance the horrible things of the soviet era. It is courage that he is not afraid of the reactions. It is courage that he accepts their looks without any protection, he tries to effect totally alone, with the pure words, and immerses into there, where the viewers hardly dare to look into. It is courage to take the risk and go into the battle to see how much can human souls handle that evening, he adapts and realises, he precisely measures the viewers, and he is stepping on their borders. It is courage, the real ancient power of the art, his talent, it is his unique sense, that he can pay attention, he can formulate, he is not afraid to get into the viewers’ head and gets ideas from there. It is courage to do it in strong light. To do it without any set, costume, in civilian. He gets into fight in a pure form, he fights with the text, the story, the past. It is courage, it is real courage, it is the origin of bravura, as the text gets into alive, as the viewers can walk on the place, as the lesson is formed with constant reflection, it is in connection with many human fates and faces up with fears and feelings. It is courage to tell a story to the others, and to do it that way. It is courage, that he is not afraid of the fact, that the length, complexity of the text, without any help can lead to the loss of attention, and it is courage to do it that way, that he can fall any time, because the viewers are searching for tricks all the time. It is courage that he hopes, that all of it has its effect, that it counts and worth to fight, because the world can be better with the help of it, that the power of art and the show of it can help. It is courage that he gets into the world of horrific things, then he gets back to the surface of water. It is courage that he does those things, which no one has dared before. It is courage to do it that way. It is courage that he performs it with that kind of empathy and touches, it is the spiritual courage of real talent, it is all, which can be done by only a real artist. Do not be afraid. Being courageously genius. Only that kind of soul has this courage, who is standing on the stage of life as a partner, because he has a power, which cannot be taken away of him, his pure, irreversible talent. It makes him free. And he will be always.
Sára Simon, 2017
(translated by: Veronika Fülöp)
It wants your ideas, it gives you the chills and digs deep into, it shows shockingly, mercilessly, it frightens us without any nice things, pulls us into the swirl, and you have only the hope that finally it will absolve you. It has effect, it gets under your skin, and it needs all your tiny parts, while you are afraid of it, again and again, that life is full of such fates and shadows. It makes you face up with and fills you, and does not only captivate you there, but does not leave you for a while.
It is a first-person singular manifesto about freedom, however here is one present time too.
Zoltán Balázs’ art is a first-person singular manifesto about courage. It is about the meaning of finding and touching the taboo, getting it, taking it, not being afraid of it, accepting it and giving it on. That way we can make it not be the past, not be able to avoid it. It is courage, it is a courageous fight with risks between white walls, while keeping eye contact with the viewers who are suspicious and who are left alone without any help, who cannot know when they enter the room, that they have got their tickets during the first moments for the rushing train, and they are on their way to the land of horrible things and their only partner is their attention. It is courage, he takes into his hand the unknown people’s fantasy, then he builds it up and with ruthless punctuality he takes them into close distance the horrible things of the soviet era. It is courage that he is not afraid of the reactions. It is courage that he accepts their looks without any protection, he tries to effect totally alone, with the pure words, and immerses into there, where the viewers hardly dare to look into. It is courage to take the risk and go into the battle to see how much can human souls handle that evening, he adapts and realises, he precisely measures the viewers, and he is stepping on their borders. It is courage, the real ancient power of the art, his talent, it is his unique sense, that he can pay attention, he can formulate, he is not afraid to get into the viewers’ head and gets ideas from there. It is courage to do it in strong light. To do it without any set, costume, in civilian. He gets into fight in a pure form, he fights with the text, the story, the past. It is courage, it is real courage, it is the origin of bravura, as the text gets into alive, as the viewers can walk on the place, as the lesson is formed with constant reflection, it is in connection with many human fates and faces up with fears and feelings. It is courage to tell a story to the others, and to do it that way. It is courage, that he is not afraid of the fact, that the length, complexity of the text, without any help can lead to the loss of attention, and it is courage to do it that way, that he can fall any time, because the viewers are searching for tricks all the time. It is courage that he hopes, that all of it has its effect, that it counts and worth to fight, because the world can be better with the help of it, that the power of art and the show of it can help. It is courage that he gets into the world of horrific things, then he gets back to the surface of water. It is courage that he does those things, which no one has dared before. It is courage to do it that way. It is courage that he performs it with that kind of empathy and touches, it is the spiritual courage of real talent, it is all, which can be done by only a real artist. Do not be afraid. Being courageously genius. Only that kind of soul has this courage, who is standing on the stage of life as a partner, because he has a power, which cannot be taken away of him, his pure, irreversible talent. It makes him free. And he will be always.
Sára Simon, 2017
(translated by: Veronika Fülöp)