Péter Gerzson Kovács founded the modern dance ensemble TranzDanz in 1987. This is a company which is reorganised and renewed from production to production, and to which he invites the most talented young exponents of classical ballet, modern dance and folk-dance. The Hungarian culture which was formed in the Carpathian basin embraces the influences of its – historically constantly expanding – environment and influences that environment in return. This characteristic blend is the basis of TranzDanz, on which it has created Hungarian modern dance. Modern, because it is an art-form that lives in the present time and space, reacts to it and is capable of renewal. TranzDanz considers culture a product of history: it builds tradition into itself, renews it in innovative fashion, updates and personalises it.

Tripitichon/Magenta V.
Triptichon unites the former Magenta-experiences (Balanescu, Sipos, Szelevényi, Dresch and Lukács) in one production, and takes them further in renewed form.

In time
The space-creating form of the first movement is the circle, which is a symbol partly of ending and closure, partly of completion and perfection. Within this circle the new musical partner, Mátyás Szandai, and the dancer move, locked together, alluding to one another, constantly pursuing and inspiring one another, on a spiral path – physical and spiritual – which departs from the focus of the circle and then returns to it. Their play is an indissoluble unity of harmony and dissonance, testimony to the continued existence – marked by conflict though it be – of a culture believed (taught) to be closed and ended.

Hic et nunc (Here and now)
The symbol of the second movement is the straight. The musician, Mihály Dresch (recorder and soprano saxophone), and Kovács move together along the path, from the very start of the movement clearly to the terminal point. Although they move along a straight course their journey is far from straight. Although the path leads forward from the depths of the stage, perhaps they move backwards in time. Is the end of the path the source or the beginning? 

Ratio
The third movement is space – uncircumscribed, structureless, homogeneous, profane space. The man of today, who – though entirely unaware of it – is incapable of finally breaking with his past because he himself is a product of that past, places himself in this deconsecrated world. He creates, devises, this world himself, he stands at its centre, he shapes the boundaries of his existence – rationally, as he thinks. „One sequence consists of denial and resignation, but those realities which he rejects and denies haunt him always.” (M. Eliade)  The dancer is accompanaied in the movement by Miklós Lukács (cimbalom).

Here Kovács alludes to the spirit, struggle and legacy of Bartók. (...) He does not assert a counter-canon, merely goes his own deliberately chosen way, far from commonplaces, from the elbow-padded, alarmed, 'public order' notion that tidies the organic nature of art into compartments. Hungarian modern (folk)dance, the 'joining together of poles', has a huge tradition, despite everything that is said to the contrary: the subject of this essay is a famous, present-day hero in this creative struggle. Magenta V., if you like, is three duels, three encounters, trysts, expeditions. A journey into the depths of one another, of one another's consciousness. A spiritual, sensory adventure, now stark and manly, now an encounter that fades a little modestly, shamefaced at overstaying its welcome in one another, presented in the form of a triptych.

Tamás Halász

Dancer, choreographer: Péter Gerzson Kovács 
Musicians:
Mátyás Szandai - doublebass
Mihály Dresch - flute
Miklós Lukács - cimbalom
Designd by: Kovács Gerzson Péter