Reviews:

Laura Pamlényi:Összefon, majd elenged (Entwines, Then Lets Go) 

………Zsófia Szász’s performance gently turns inside out the inherently communal nature of dance: what is usually a language of connection and togetherness here becomes the embodied form of loneliness. Softloneliness continually falls apart and then comes together again, so that the audience does not understand but rather feels that loneliness is, in fact, the most communal of experiences. 

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Elefánti Emma: A túlélés formátumai (Formats of Survival) 

……….It is possible that it is merely the critic’s poetic eye that sees a connection in all of this, but to me it does not seem accidental that negative and/or empty spaces appear so frequently and with such strong emphasis in the various performances. In Zsófia Szász’s work-in-progress presentation of Lágymagány, for example, she performs a circle dance from Moldva alone, tracing the empty space where the community she longs for should be. In the second part, however, she evokes a multitude of currently used dance genres, as if tracing the empty space within herself, while humming the melodies from Moldva on a recording. Szász hums not only the vocal but also the instrumental parts of the original musical material, as if someone were desperately trying to call a lost cultural code back into the present, a code in which time spent together was still an integral part. In the silences of the piece, the audience’s delicate sounds become audible, as if, in these moments, we were accompanying the increasingly emphatic desire to connect through the act of creation.

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Léna Megyeri & Ákos Török: A készség fokozatai (Degrees of Skill) 

ÁT: ……..Zsófia Szász is refreshingly direct and grounded in the here and now. It brought to mind, above all, perhaps, Márta Ladjánszki’s solos most notably, Széki Luca. With one important difference: while Ladjánszki is one of the most uncompromising performers, almost cruelly demanding of both herself and the audience, Zsófia Szász is gently tender here. This gentleness, however, is in no way softness: just as there is a wall or metal behind the crocheted set and props in the performance, the dancer’s crocheted costume also only seemingly conceals the drama of the person inside it. And everyone can decide for themselves whose loneliness is heavier: the person dancing Széki csárdás alone, or the person dancing the circle dance of Moldva alone.