Seven modules. Seven dimensions of performance.
Each one-month masterclass puts performance into contact with another field, while performance remains at the centre.
You can enter through one module, combine several, or move through the complete series.
Across the modules, you build a larger vocabulary of artistic possibilities. You learn what different materials and methods can produce, where your automatisms are, what you keep returning to, and which decisions actually belong to your practice.
The more you can do, the more precisely you can choose.
Each one-month masterclass puts performance into contact with another field, while performance remains at the centre.
- Module 1: Performance & Nature
environment, landscape, material, site - Module 2: Performance & City
public space, architecture, movement through place - Module 3: Performance & Dance
body, movement, presence - Module 4: Performance & Visual Arts
object, image, sculpture, text, voice, installation - Module 5: Performance & Scores
scores, tasks, instructions, composition, choreography, group process - Module 6: Performance & Solo
authorship, development, dramaturgy, structure - Module 7: Performance & People
participation, facilitation, audience, holding space
You can enter through one module, combine several, or move through the complete series.
Across the modules, you build a larger vocabulary of artistic possibilities. You learn what different materials and methods can produce, where your automatisms are, what you keep returning to, and which decisions actually belong to your practice.
The more you can do, the more precisely you can choose.
PERFORMANCE & NATURE
MODULE 1
Sept. 7 - Oct. 2, 2026
This Masterclass (Module 1: Sept. 7 – Oct. 2, 2026) is designed for artists, movers, and researchers interested in nature not as a theme, but as a structure, a methodology. It addresses practitioners drawn to questions of ecology, land, soil, ecofeminism, hydrofeminism, and embodied knowledge. Here, nature is approached not as a subject to be represented, nor as a resource to be extracted, but as a pedagogical environment: a set of conditions from which to learn.
Across three weeks, participants move through three elemental states. Soil teaches weight, gravity, stability, and grounding. Water teaches flow, direction, circulation, and transformation. Climate teaches attention, intention, presence: what is sensed rather than said, what is felt before it is named. Each week offers a distinct mode of perception and embodiment. Together, they build a deep internal reservoir, a living archive that will nourish future creation.
Across three weeks, participants move through three elemental states. Soil teaches weight, gravity, stability, and grounding. Water teaches flow, direction, circulation, and transformation. Climate teaches attention, intention, presence: what is sensed rather than said, what is felt before it is named. Each week offers a distinct mode of perception and embodiment. Together, they build a deep internal reservoir, a living archive that will nourish future creation.
DETAILS (MODULE 1)
WEEK 1:
SOIL
Grounding, Density, Support
Guided by researcher Ráhel Csizmadia, the first week focuses on what holds us. Through interdisciplinary practices rooted in movement, somatics, and material exploration, participants work with soil, clay, land, and gravity — both literally and metaphorically. Attention is given to density, weight, resistance, stability, and support. This week establishes grounding: in the body, in space, and in relation to others. It invites slowness, contact, and trust in what is beneath. Participants begin to gather their creative pantry: physical states, sensations, textures, and embodied knowledge that will remain unresolved, yet deeply stored.
WEEK 2:
WATER
Flow, Direction, Liquid Public Space
The second week shifts from solidity to movement.
Led by Kata Balogh, dancer-performer and cultural manager at VALYO (City and River Association), whose work engages with public space and reactivates the Danube as a social, cultural, and civic site.
Working with water and the Danube River as both material condition and reference point, participants explore what it means to learn from flow: how things circulate, erode, deposit, transform, and continue. This week introduces a pedagogy of liquidity — understanding structure through movement, direction through drift, and form through adaptation.
The river becomes a teacher of continuity and change: how to move within a frame without fixation, how to remain responsive without losing orientation. Attention is given to rhythm, timing, permeability, and shared space — the river understood as a collective, living public environment where bodies, infrastructures, histories, and currents coexist and negotiate presence.
WEEK 3:
CLIMATE
Atmosphere, Conditions, Artistic Ecology
Guided by Hungarian dancer and maker Sándor Petrovics, the third week focuses on climate: the invisible conditions under which creativity can grow.
Just as plants require specific climates to develop, artistic processes also depend on atmosphere. Through movement exercises, participants explore how environment, mood, rhythm, energy, space, and language shape the experience of a group and influence creative work.
This week approaches climate as something that can be consciously composed and influenced. Participants reflect on how qualities such as warmth, light, generosity, playfulness, calm, joy, or encouragement can become compositional elements within creative processes.
WEEK 4:
PROCESSING & ARCHIVING
This final week, conducted online through daily prompts, is dedicated to reflection and articulation. Participants create a poetic or visual archive of their process, update documentation and portfolios, and map future pathways. This week supports integration — allowing what has been gathered to settle, without pressure to resolve.
POSITION OF THE MODULE
For Module 1, there is no final performance.
No public sharing.
No production pressure.
This module does not ask participants to explain, present, or resolve anything. It asks them to be present, to feel, to register, and to trust accumulation. To gather. To fill the attic. To learn how to receive.
SOIL
Grounding, Density, Support
Guided by researcher Ráhel Csizmadia, the first week focuses on what holds us. Through interdisciplinary practices rooted in movement, somatics, and material exploration, participants work with soil, clay, land, and gravity — both literally and metaphorically. Attention is given to density, weight, resistance, stability, and support. This week establishes grounding: in the body, in space, and in relation to others. It invites slowness, contact, and trust in what is beneath. Participants begin to gather their creative pantry: physical states, sensations, textures, and embodied knowledge that will remain unresolved, yet deeply stored.
WEEK 2:
WATER
Flow, Direction, Liquid Public Space
The second week shifts from solidity to movement.
Led by Kata Balogh, dancer-performer and cultural manager at VALYO (City and River Association), whose work engages with public space and reactivates the Danube as a social, cultural, and civic site.
Working with water and the Danube River as both material condition and reference point, participants explore what it means to learn from flow: how things circulate, erode, deposit, transform, and continue. This week introduces a pedagogy of liquidity — understanding structure through movement, direction through drift, and form through adaptation.
The river becomes a teacher of continuity and change: how to move within a frame without fixation, how to remain responsive without losing orientation. Attention is given to rhythm, timing, permeability, and shared space — the river understood as a collective, living public environment where bodies, infrastructures, histories, and currents coexist and negotiate presence.
WEEK 3:
CLIMATE
Atmosphere, Conditions, Artistic Ecology
Guided by Hungarian dancer and maker Sándor Petrovics, the third week focuses on climate: the invisible conditions under which creativity can grow.
Just as plants require specific climates to develop, artistic processes also depend on atmosphere. Through movement exercises, participants explore how environment, mood, rhythm, energy, space, and language shape the experience of a group and influence creative work.
This week approaches climate as something that can be consciously composed and influenced. Participants reflect on how qualities such as warmth, light, generosity, playfulness, calm, joy, or encouragement can become compositional elements within creative processes.
WEEK 4:
PROCESSING & ARCHIVING
This final week, conducted online through daily prompts, is dedicated to reflection and articulation. Participants create a poetic or visual archive of their process, update documentation and portfolios, and map future pathways. This week supports integration — allowing what has been gathered to settle, without pressure to resolve.
POSITION OF THE MODULE
For Module 1, there is no final performance.
No public sharing.
No production pressure.
This module does not ask participants to explain, present, or resolve anything. It asks them to be present, to feel, to register, and to trust accumulation. To gather. To fill the attic. To learn how to receive.
PERFORMANCE & CITY
MODULE 2
Oct. 5-30, 2026
In this Masterclass (Module 2: Oct. 5–30, 2026), public space becomes both studio and medium. Designed for performers, movers, architects, designers, urban wanderers, and interdisciplinary artists, the module explores how the city can participate in artistic work: as inspiration, setting, stage, partner, constraint, and source material.
The entire program takes place outdoors across various locations throughout Budapest. Through movement research, site-specific practices, urban interventions, walking methodologies, and subjective cartography, participants learn directly from the city: its architectures, rhythms, frictions, atmospheres, infrastructures, and invisible choreographies.
Structured as a progressive journey from body to building, and from structured urban fabric to aleatory drift, the module draws from fields such as architecture, urbanism, geography, and performance studies at their intersection with embodied artistic practice.
By the end of the month, participants develop practical tools for working in public space and learn how to create artistic responses rooted in urban context and outdoor environments.
The entire program takes place outdoors across various locations throughout Budapest. Through movement research, site-specific practices, urban interventions, walking methodologies, and subjective cartography, participants learn directly from the city: its architectures, rhythms, frictions, atmospheres, infrastructures, and invisible choreographies.
Structured as a progressive journey from body to building, and from structured urban fabric to aleatory drift, the module draws from fields such as architecture, urbanism, geography, and performance studies at their intersection with embodied artistic practice.
By the end of the month, participants develop practical tools for working in public space and learn how to create artistic responses rooted in urban context and outdoor environments.
DETAILS (MODULE 2)
WEEK 1:
PERFORMANCE & ARCHITECTURE
Led by public space choreographer and dancer Zita Thury, the first week explores the relationship between anatomy and architecture, body and building. Drawing from embodied approaches to space and movement, participants investigate how architecture shapes perception, circulation, rhythm, and the experience of the body in public space.
Architecture is approached not only as something we inhabit, but as something that actively choreographs us. Participants study thresholds, corridors, stairs, density, openness, weight, repetition, fragility, and scale through embodied practice, gradually translating architectural principles into movement and performance.
Throughout the week, buildings, squares, sculptures, and monuments shift between setting, stage, and partner. Participants begin developing site-responsive actions inspired by surfaces, structures, spatial tensions, urban details, and the histories and memories they carry.
WEEK 2:
SITE-SPECIFIC PRACTICES
Led by actress, maker, and urban space artist Luca Borsos, Week 2 shifts from the single building to the city as an interconnected structure. Participants continue working outdoors through site-specific practices where context, architecture, circulation, and social dynamics actively shape the work. Through temporary interventions, sensory actions, and itinerant performances, they explore how small gestures can alter perception, interrupt habitual movement, or momentarily transform the function or the meaning of a place. Attention is given to timing, (in)visibility, interaction, and the relationship between body and space: the body in space, the body as space.
WEEK 3:
URBAN WALKS & SENSORIAL DRIFTING
Led by author and urban space researcher Ráhel Csizmadia, the third week approaches walking and subjective map-making as artistic practices. Through dérive, wandering, sensory observation, and counter-mapping exercises, participants explore how their previous two weeks of experience with the city generated new perceptions, associations, and spatial narratives.
Participants experiment with drifting away from habitual routes and functional movement patterns, allowing chance and the unexpected to guide their trajectories. Walking becomes a tool for collecting impressions, textures, sounds, encounters, and fragments, while map-making becomes a way of creating relationships between places, memories, observations, and experiences gathered throughout the process.
Throughout the week, participants create drawings, notes, maps, instructions, and spatial observations that gradually accumulate into a subjective Atlas: a personal cartography-book shaped not by objective accuracy, but by perception, memory, sensation, and lived experience.
The Atlas becomes both an archive of the program and an artistic methodology: a way of documenting how the city was experienced, interpreted, and reimagined through movement.
WEEK 4:
PROCESSING & ARCHIVING
The final week takes place online. Each morning you receive a prompt that guides you gently back through your experience.
Day by day, you organise, write, and articulate what you discovered. You shape a small digital archive of your month: a collection that reflects not only how you mapped the city, but how the city mapped you.
POSITION OF THE MODULE
For Module 2, there is no final performance.
No public sharing.
No production pressure.
This module does not ask participants to explain, present, or resolve anything. It asks them to be present, to feel, to register, and to trust accumulation. To gather. To fill the attic. To learn how to receive.
PERFORMANCE & ARCHITECTURE
Led by public space choreographer and dancer Zita Thury, the first week explores the relationship between anatomy and architecture, body and building. Drawing from embodied approaches to space and movement, participants investigate how architecture shapes perception, circulation, rhythm, and the experience of the body in public space.
Architecture is approached not only as something we inhabit, but as something that actively choreographs us. Participants study thresholds, corridors, stairs, density, openness, weight, repetition, fragility, and scale through embodied practice, gradually translating architectural principles into movement and performance.
Throughout the week, buildings, squares, sculptures, and monuments shift between setting, stage, and partner. Participants begin developing site-responsive actions inspired by surfaces, structures, spatial tensions, urban details, and the histories and memories they carry.
WEEK 2:
SITE-SPECIFIC PRACTICES
Led by actress, maker, and urban space artist Luca Borsos, Week 2 shifts from the single building to the city as an interconnected structure. Participants continue working outdoors through site-specific practices where context, architecture, circulation, and social dynamics actively shape the work. Through temporary interventions, sensory actions, and itinerant performances, they explore how small gestures can alter perception, interrupt habitual movement, or momentarily transform the function or the meaning of a place. Attention is given to timing, (in)visibility, interaction, and the relationship between body and space: the body in space, the body as space.
WEEK 3:
URBAN WALKS & SENSORIAL DRIFTING
Led by author and urban space researcher Ráhel Csizmadia, the third week approaches walking and subjective map-making as artistic practices. Through dérive, wandering, sensory observation, and counter-mapping exercises, participants explore how their previous two weeks of experience with the city generated new perceptions, associations, and spatial narratives.
Participants experiment with drifting away from habitual routes and functional movement patterns, allowing chance and the unexpected to guide their trajectories. Walking becomes a tool for collecting impressions, textures, sounds, encounters, and fragments, while map-making becomes a way of creating relationships between places, memories, observations, and experiences gathered throughout the process.
Throughout the week, participants create drawings, notes, maps, instructions, and spatial observations that gradually accumulate into a subjective Atlas: a personal cartography-book shaped not by objective accuracy, but by perception, memory, sensation, and lived experience.
The Atlas becomes both an archive of the program and an artistic methodology: a way of documenting how the city was experienced, interpreted, and reimagined through movement.
WEEK 4:
PROCESSING & ARCHIVING
The final week takes place online. Each morning you receive a prompt that guides you gently back through your experience.
Day by day, you organise, write, and articulate what you discovered. You shape a small digital archive of your month: a collection that reflects not only how you mapped the city, but how the city mapped you.
POSITION OF THE MODULE
For Module 2, there is no final performance.
No public sharing.
No production pressure.
This module does not ask participants to explain, present, or resolve anything. It asks them to be present, to feel, to register, and to trust accumulation. To gather. To fill the attic. To learn how to receive.
PERFORMANCE & DANCE
MODULE 3
Nov. 2-27, 2026
This Masterclass (Module 3: Nov. 2-27, 2026) is for people who want to move beyond “dancing steps” and enter movement as a language, a research, and a way of being present. It is for movers, performers, and dance-curious artists who want to deepen their physical vocabulary, expand their expressive range, and develop their own performative voice. Over one month, you will shift from movement that starts from form to movement that begins from sensation, attention, memory, and emotion. You will work with slowness, stillness, states, and autobiographical material, shaping them into choreographic fragments and into a short performance piece: a duet.
By the end of the module, you will have created an embodied work rooted in your own story, physicality, and personal aesthetic.
By the end of the module, you will have created an embodied work rooted in your own story, physicality, and personal aesthetic.
DETAILS (MODULE 3)
WEEK 1:
INTRODUCTION & INSPIRATION
Guided by Relle Brugman, dancer and maker from the Netherlands, you begin with dynamic movement improvisation that opens the body and sharpens perception. You explore somatic practices that attune you to inner impulses and teach you to respond from honesty rather than habit. The aim is not to “dance more,” but to sense more: to cultivate presence, availability, and embodied listening. Throughout the week, you explore how movement arises from feeling, attention, and relation, using improvisation as both technique and research method.
WEEK 2:
REPERTOIRE & STUDIO RESEARCH
Led by Anna Ádám, you transition from exploration to artistic research. You work with fragments from Anna’s choreographic repertoire — not to imitate them, but to use them as entry points into your own creation. Each fragment becomes a door toward sensation, narrative, memory, and emotional landscape. Mornings are guided sessions centered on attention, detail, and slowness. Afternoons are open studio time: a space to digest, transform, and begin sketching your own movement material. You explore presence, stillness, and the preocess of translations between inner state and outer form.
WEEK 3:
CREATION & PRESENTATION
After widening your vocabulary in Week 2, Week 3 brings focus. Under Anna Ádám’s mentorship, you choose one direction and deepen it. You receive individual guidance to develop your material into a duet. You work with dramaturgy, composition, and clarity: how to shape, refine, and sustain a performative world. Technical support in light, sound, and space design helps you imagine your piece as a complete performance. At the end of the week, you share your work-in-progress with an audience and receive feedback.
WEEK 4:
PROCESSING & ARCHIVING
A week dedicated to reflection and integration. You step back, observe what took shape, and articulate your process. Daily prompts guide you to write a reactivation score, document your research, name your methodology, and recognize your own artistic voice. You organize photos and videos from the showing, update your portfolio, and map future pathways: where this work can travel, how it can grow, and what form your next piece might take.
The week closes with a sense of orientation: clarity on where you come from, where you stand, and where you want to go next as a performance-maker.
INTRODUCTION & INSPIRATION
Guided by Relle Brugman, dancer and maker from the Netherlands, you begin with dynamic movement improvisation that opens the body and sharpens perception. You explore somatic practices that attune you to inner impulses and teach you to respond from honesty rather than habit. The aim is not to “dance more,” but to sense more: to cultivate presence, availability, and embodied listening. Throughout the week, you explore how movement arises from feeling, attention, and relation, using improvisation as both technique and research method.
WEEK 2:
REPERTOIRE & STUDIO RESEARCH
Led by Anna Ádám, you transition from exploration to artistic research. You work with fragments from Anna’s choreographic repertoire — not to imitate them, but to use them as entry points into your own creation. Each fragment becomes a door toward sensation, narrative, memory, and emotional landscape. Mornings are guided sessions centered on attention, detail, and slowness. Afternoons are open studio time: a space to digest, transform, and begin sketching your own movement material. You explore presence, stillness, and the preocess of translations between inner state and outer form.
WEEK 3:
CREATION & PRESENTATION
After widening your vocabulary in Week 2, Week 3 brings focus. Under Anna Ádám’s mentorship, you choose one direction and deepen it. You receive individual guidance to develop your material into a duet. You work with dramaturgy, composition, and clarity: how to shape, refine, and sustain a performative world. Technical support in light, sound, and space design helps you imagine your piece as a complete performance. At the end of the week, you share your work-in-progress with an audience and receive feedback.
WEEK 4:
PROCESSING & ARCHIVING
A week dedicated to reflection and integration. You step back, observe what took shape, and articulate your process. Daily prompts guide you to write a reactivation score, document your research, name your methodology, and recognize your own artistic voice. You organize photos and videos from the showing, update your portfolio, and map future pathways: where this work can travel, how it can grow, and what form your next piece might take.
The week closes with a sense of orientation: clarity on where you come from, where you stand, and where you want to go next as a performance-maker.
PERFORMANCE & VISUAL ARTS
MODULE 4
Jan. 4-29, 2027
This Masterclass (Module 4: Jan. 4-29, 2027) is designed for visual artists exploring the performative potential of their sculptures, puppet-theatre makers interested in the performativity of “things,” movement and dance artists wishing to integrate materiality into installation or multimedia practice, and all creators who wish to work with language not only as content, but as matter, gesture, and sound.
Across one month, you will merge theater and exhibition space — black box and white cube — while expanding performance into a terrain where objects and words coexist, collide, and activate each other.
You will create a set of sculptural forms (some handmade, some collected) and a constellation of texts (poems, fragments, vocal scores, micro-narratives). You will choreograph both materials and sentences, testing their narrative, symbolic, sonic, and physical presence. By the end, you will have shaped your own object-theatre: a personal micro-world that can be exhibited visually and activated performatively.
Across one month, you will merge theater and exhibition space — black box and white cube — while expanding performance into a terrain where objects and words coexist, collide, and activate each other.
You will create a set of sculptural forms (some handmade, some collected) and a constellation of texts (poems, fragments, vocal scores, micro-narratives). You will choreograph both materials and sentences, testing their narrative, symbolic, sonic, and physical presence. By the end, you will have shaped your own object-theatre: a personal micro-world that can be exhibited visually and activated performatively.
DETAILS (MODULE 4)
WEEK 1
MAKING MATERIAL & MAKING LANGUAGE
Week 1 unfolds in two complementary rhythms — collective making and individual writing — allowing material and language to develop side by side.
Morning (Group · Studio work)
Guided by researcher Ráhel Csizmadia, mornings are dedicated to hands-on sculpture making. Working with clay, textile, paper, and found materials, you craft the first elements of your personal object constellation. The focus is tactile and intuitive: shaping forms, testing surfaces, exploring density, fragility, and weight. Your objects begin to acquire emotional tone and symbolic potential, the seeds of a world you will later animate.
Afternoon (Individual · Remote writing practice)
Afternoons are quiet, individual, and literary. You receive emailed prompts designed to spark poetic thinking and experimental writing. Here, writing becomes a parallel studio practice: a space to explore rhythm, texture, and atmosphere through words, sentences, and vocal gesture.
By the end of Week 1, you have created the raw materials of your universe, a first collection of sculptural forms and a first body of texts, ready to be composed, activated, and transformed in the weeks to come.
WEEK 2
COMPOSITION & WORLD-BUILDING
With Anna Ádám, you now move from material generation to composition. You begin assembling your objects and texts into a micro-cosmos:
a diorama, a poetic landscape, a symbolic world. You’ll explore the performative, narrative, and choreographic potential of your objects, blurring the line between sculpture and prop, plinth and stage, object and partner. This week is a joyful laboratory: experiment, test scenes, trust intuition, welcome poetic accidents. A time for play, risk, curiosity to discover where your objects and texts want to take you.
WEEK 3
ACTIVATION & PRESENTATION
In Week 3, you refine and deepen one direction.
With Anna Ádám, you build a hybrid performative environment where objects are installed and activated, and where texts are both displayed and performed: spoken, whispered, projected, read, or embedded into space.
This is where lecture-performance meets object-theatre, where sculpture meets voice, where poetry becomes choreography.
You construct a breathing landscape in which material, movement, and language co-exist as equal dramaturgical forces.
At the end of the week, you share your world with an audience and receive detailed feedback to support your next steps.
WEEK 4
PROCESSING & ARCHIVING
A week dedicated to integration. Time to digest, to name, to understand what took form through emotion, intuition, attention. Daily prompts will guide your reflection and help you ground the experience. You will finalize documentation, update your portfolio with photos and videos from the sharing, articulate your intention and process, and map future pathways where this work can live next, and how it can grow.
MAKING MATERIAL & MAKING LANGUAGE
Week 1 unfolds in two complementary rhythms — collective making and individual writing — allowing material and language to develop side by side.
Morning (Group · Studio work)
Guided by researcher Ráhel Csizmadia, mornings are dedicated to hands-on sculpture making. Working with clay, textile, paper, and found materials, you craft the first elements of your personal object constellation. The focus is tactile and intuitive: shaping forms, testing surfaces, exploring density, fragility, and weight. Your objects begin to acquire emotional tone and symbolic potential, the seeds of a world you will later animate.
Afternoon (Individual · Remote writing practice)
Afternoons are quiet, individual, and literary. You receive emailed prompts designed to spark poetic thinking and experimental writing. Here, writing becomes a parallel studio practice: a space to explore rhythm, texture, and atmosphere through words, sentences, and vocal gesture.
By the end of Week 1, you have created the raw materials of your universe, a first collection of sculptural forms and a first body of texts, ready to be composed, activated, and transformed in the weeks to come.
WEEK 2
COMPOSITION & WORLD-BUILDING
With Anna Ádám, you now move from material generation to composition. You begin assembling your objects and texts into a micro-cosmos:
a diorama, a poetic landscape, a symbolic world. You’ll explore the performative, narrative, and choreographic potential of your objects, blurring the line between sculpture and prop, plinth and stage, object and partner. This week is a joyful laboratory: experiment, test scenes, trust intuition, welcome poetic accidents. A time for play, risk, curiosity to discover where your objects and texts want to take you.
WEEK 3
ACTIVATION & PRESENTATION
In Week 3, you refine and deepen one direction.
With Anna Ádám, you build a hybrid performative environment where objects are installed and activated, and where texts are both displayed and performed: spoken, whispered, projected, read, or embedded into space.
This is where lecture-performance meets object-theatre, where sculpture meets voice, where poetry becomes choreography.
You construct a breathing landscape in which material, movement, and language co-exist as equal dramaturgical forces.
At the end of the week, you share your world with an audience and receive detailed feedback to support your next steps.
WEEK 4
PROCESSING & ARCHIVING
A week dedicated to integration. Time to digest, to name, to understand what took form through emotion, intuition, attention. Daily prompts will guide your reflection and help you ground the experience. You will finalize documentation, update your portfolio with photos and videos from the sharing, articulate your intention and process, and map future pathways where this work can live next, and how it can grow.
PERFORMANCE & SCORES
MODULE 5
Feb. 1-26, 2027
In this Masterclass (Module 5: Feb. 1-26, 2027), you will engage in the creation of scores in multiple forms: written, graphic, vocal, spatial, and task-based systems. These scores will become choreographic tools: instructions for actions, movements, and choices that guide your creative process. This module is ideal for artists seeking their first choreographic experience, and for those who already have experience but wish to expand their vocabulary, structure their method, and build a solid toolkit for directing or guiding others.
Across four weeks, you will experiment with instruction-based creation, choreograph groups, test participatory frameworks, and develop your own approach to score-making. By the end, you will understand how to use scores not only as prompts, but as full compositional systems capable of building a performance from idea to execution.
Across four weeks, you will experiment with instruction-based creation, choreograph groups, test participatory frameworks, and develop your own approach to score-making. By the end, you will understand how to use scores not only as prompts, but as full compositional systems capable of building a performance from idea to execution.
DETAILS (MODULE 5)
WEEK 1
INTRODUCTION & INSPIRATION
You begin with two guest mentors.
With psychologist and researcher Ráhel Csizmadia, you explore subjective cartography, psychogeography, and alternative ways of mapping experience, emotion, and space. With Australian violonist and sound artist Andrea Lim, you encounter musical scoring, structured and free improvisation, and graphic notation. This week provides references, techniques, and conceptual grounding for thinking through scores, instructions, protocols, and scripts — not as illustrations but as engines for action, structure, and attention.
WEEK 2
RESEARCH & EXPLORATION
With Anna Ádám, you move from study to practice. You begin creating your own scores in written, vocal, drawn, and spatial forms and immediately test them in the studio. You choreograph others through tasks, instructions, and guided actions, working in solos, duets, trios, and small groups. This week is dedicated to experimentation and method-finding: discovering how you communicate, how you make decisions, how you guide, how you build a system. You learn to think like a choreographer: one who assumes responsibility, makes aesthetic choices, and shapes a process step by step.
WEEK 3
CREATION & PRESENTATION
After testing many directions, you choose one. Under Anna Ádám’s mentorship, you refine your score, clarify your logic, and build a short work that can be performed by yourself or others. You rehearse, adjust instructions, and develop the language of your score into a clear artistic form. While the core focus is choreographing performers, students also have the option to integrate the audience and explore interactive or participatory formats. The week culminates in a public sharing with feedback — a precious encounter with external eyes.
WEEK 4
PROCESSING & ARCHIVING
This final week supports digestion and documentation. You receive daily prompts to help you reflect on your method, articulate your intention, and consolidate what was learned. You update your portfolio, organize photos and videos from the sharing, write about your piece, and outline future directions for the work. This week ensures the experience becomes grounded, understood, and transferable, not temporary inspiration, but a durable practice.
INTRODUCTION & INSPIRATION
You begin with two guest mentors.
With psychologist and researcher Ráhel Csizmadia, you explore subjective cartography, psychogeography, and alternative ways of mapping experience, emotion, and space. With Australian violonist and sound artist Andrea Lim, you encounter musical scoring, structured and free improvisation, and graphic notation. This week provides references, techniques, and conceptual grounding for thinking through scores, instructions, protocols, and scripts — not as illustrations but as engines for action, structure, and attention.
WEEK 2
RESEARCH & EXPLORATION
With Anna Ádám, you move from study to practice. You begin creating your own scores in written, vocal, drawn, and spatial forms and immediately test them in the studio. You choreograph others through tasks, instructions, and guided actions, working in solos, duets, trios, and small groups. This week is dedicated to experimentation and method-finding: discovering how you communicate, how you make decisions, how you guide, how you build a system. You learn to think like a choreographer: one who assumes responsibility, makes aesthetic choices, and shapes a process step by step.
WEEK 3
CREATION & PRESENTATION
After testing many directions, you choose one. Under Anna Ádám’s mentorship, you refine your score, clarify your logic, and build a short work that can be performed by yourself or others. You rehearse, adjust instructions, and develop the language of your score into a clear artistic form. While the core focus is choreographing performers, students also have the option to integrate the audience and explore interactive or participatory formats. The week culminates in a public sharing with feedback — a precious encounter with external eyes.
WEEK 4
PROCESSING & ARCHIVING
This final week supports digestion and documentation. You receive daily prompts to help you reflect on your method, articulate your intention, and consolidate what was learned. You update your portfolio, organize photos and videos from the sharing, write about your piece, and outline future directions for the work. This week ensures the experience becomes grounded, understood, and transferable, not temporary inspiration, but a durable practice.
PERFORMANCE & SOLO
MODULE 6
Apr. 5-30, 2027
This Masterclass (Module 6: Apr. 5-30, 2027) is dedicated to artists who want to create a solo performance grounded in personal material — memory, autobiography, emotional experience, and embodied knowledge. Across four weeks, you will move through a full creative cycle: inspiration, movement research, composition and creation, rehearsal, technical aspects and public presentation. The process combines artistic depth with practical tools: dramaturgy, structure, documentation, and professional development. The aim is to guide you in building a solo that is clear, honest, precise: a work that emerges from who you are, how you move, what you remember, and what you want to say.
DETAILS (MODULE 6)
WEEK 1:
INTRODUCTION & INSPIRATION
Led by performer Júlia Eszter Gaál, Week 1 opens with the solos CLASH and Crisis before Crisis, two distinct approaches to navigating presence, isolation, identity, and the tension between the personal and the stage persona.
Throughout the week, you will explore the challenges embedded in these works:
– How to sustain presence without forcing it
– How to separate private self and performing self
– How to work with boredom, repetition, and attention
– How to activate movement through sensation, intention rather than form
Daily practice blends analysis and embodied exploration. You will engage with principles drawn from the solos — balance, disequilibrium, fragmentation, expansion, sensory perception — and translate them into your own body and method.
This week is not about reproducing choreography. It is about understanding why something moves, where a gesture begins, and how a state is created. You build a vocabulary of references, movement qualities, and conceptual tools that you will carry into creation.
WEEK 2:
RESEARCH & CREATION
Week 2 shifts fully into creation. The studio becomes a laboratory: a space to test ideas, open possibilities, and give form to intuitions without immediately judging or defining them.
You explore personal archives, emotions, memories, and motifs. You work with autobiographical material — not to retell your life, but to identify physical and emotional anchors that hold meaning for you. Doubt, uncertainty, hesitation, the feeling of not knowing — these states are welcomed as productive parts of the early creative process.
This week is about:
– Generating material through improvisation and task-based work
– Distinguishing intuition from impulse
– Identifying topics, images, questions that resonate
– Building short movement studies (“body sketchbooks”)
– Allowing ideas to appear before interpreting them
The goal is to accumulate material and discover the seeds of your solo: fragments, atmospheres, gestures, emotional states, emerging structures.
WEEK 3:
COMPOSITION & PRESENTATION
After two weeks of exploration, Week 3 is about decision-making. You commit to one artistic direction and refine it with precision.
This phase includes:
– Structuring your material
– Defining spatial logic, rhythm, and states
– Clarifying intention and dramaturgy
– Working with minimalism and economy of means
– Refining transitions and timing
– Rehearsing consistently
With guidance from Anna Ádám, you construct your solo step by step, stripping away what is unnecessary so the essential can emerge. You work with rigor, clarity, and responsibility: not aiming for perfection, but for coherence, presence, and honesty.
Week 3 culminates in a public sharing, where you present your work in progress to an audience. This moment serves as an articulation of your process and a catalyst for future development.
WEEK 4:
PROCESSING & ARCHIVING
The final week takes place online and focuses on grounding and integration. You receive daily prompts to help you articulate your process, frame your solo, and prepare for its life beyond the school.
This week includes:
– Writing your artistic intention and contextualizing your piece
– Documenting your work (photos, videos, portfolio updates)
– Learning how to present your project to venues and festivals
– Mapping future opportunities, networks, and possible partners
– Creating a clear communication strategy (press kit, synopsis, bio)
By the end of the module, you leave not only with a solo performance, but with the tools and confidence to carry it forward artistically and professionally.
INTRODUCTION & INSPIRATION
Led by performer Júlia Eszter Gaál, Week 1 opens with the solos CLASH and Crisis before Crisis, two distinct approaches to navigating presence, isolation, identity, and the tension between the personal and the stage persona.
Throughout the week, you will explore the challenges embedded in these works:
– How to sustain presence without forcing it
– How to separate private self and performing self
– How to work with boredom, repetition, and attention
– How to activate movement through sensation, intention rather than form
Daily practice blends analysis and embodied exploration. You will engage with principles drawn from the solos — balance, disequilibrium, fragmentation, expansion, sensory perception — and translate them into your own body and method.
This week is not about reproducing choreography. It is about understanding why something moves, where a gesture begins, and how a state is created. You build a vocabulary of references, movement qualities, and conceptual tools that you will carry into creation.
WEEK 2:
RESEARCH & CREATION
Week 2 shifts fully into creation. The studio becomes a laboratory: a space to test ideas, open possibilities, and give form to intuitions without immediately judging or defining them.
You explore personal archives, emotions, memories, and motifs. You work with autobiographical material — not to retell your life, but to identify physical and emotional anchors that hold meaning for you. Doubt, uncertainty, hesitation, the feeling of not knowing — these states are welcomed as productive parts of the early creative process.
This week is about:
– Generating material through improvisation and task-based work
– Distinguishing intuition from impulse
– Identifying topics, images, questions that resonate
– Building short movement studies (“body sketchbooks”)
– Allowing ideas to appear before interpreting them
The goal is to accumulate material and discover the seeds of your solo: fragments, atmospheres, gestures, emotional states, emerging structures.
WEEK 3:
COMPOSITION & PRESENTATION
After two weeks of exploration, Week 3 is about decision-making. You commit to one artistic direction and refine it with precision.
This phase includes:
– Structuring your material
– Defining spatial logic, rhythm, and states
– Clarifying intention and dramaturgy
– Working with minimalism and economy of means
– Refining transitions and timing
– Rehearsing consistently
With guidance from Anna Ádám, you construct your solo step by step, stripping away what is unnecessary so the essential can emerge. You work with rigor, clarity, and responsibility: not aiming for perfection, but for coherence, presence, and honesty.
Week 3 culminates in a public sharing, where you present your work in progress to an audience. This moment serves as an articulation of your process and a catalyst for future development.
WEEK 4:
PROCESSING & ARCHIVING
The final week takes place online and focuses on grounding and integration. You receive daily prompts to help you articulate your process, frame your solo, and prepare for its life beyond the school.
This week includes:
– Writing your artistic intention and contextualizing your piece
– Documenting your work (photos, videos, portfolio updates)
– Learning how to present your project to venues and festivals
– Mapping future opportunities, networks, and possible partners
– Creating a clear communication strategy (press kit, synopsis, bio)
By the end of the module, you leave not only with a solo performance, but with the tools and confidence to carry it forward artistically and professionally.
PERFORMANCE & PEOPLE
MODULE 7
May 3-28, 2027
This Masterclass (Module 7: May 3–28, 2027) is designed for artists who wish to move beyond individual creation and develop the capacity to design, structure, and hold collective artistic experiences such as workshops, laboratories, participatory formats, and learning spaces.
Situated at the intersection of art, pedagogy, and social practice, the module approaches facilitation as an authored artistic practice. Exercises, scores, toolboxes, atmospheres, spatial arrangements, dramaturgies, rhythms, and modes of interaction are explored as compositional elements extending an artistic vision.
Across four weeks, participants investigate how collective experiences can themselves become artworks: carefully framed environments shaped through attention, structure, aesthetics, timing, and responsibility.
By the end of the module, participants will have developed a pilot version of their own group format alongside a deeper understanding of facilitation ethics, collective dynamics, and the practical realities of working with people.
Situated at the intersection of art, pedagogy, and social practice, the module approaches facilitation as an authored artistic practice. Exercises, scores, toolboxes, atmospheres, spatial arrangements, dramaturgies, rhythms, and modes of interaction are explored as compositional elements extending an artistic vision.
Across four weeks, participants investigate how collective experiences can themselves become artworks: carefully framed environments shaped through attention, structure, aesthetics, timing, and responsibility.
By the end of the module, participants will have developed a pilot version of their own group format alongside a deeper understanding of facilitation ethics, collective dynamics, and the practical realities of working with people.
DETAILS (MODULE 7)
WEEK 1
THEORY & PROJECT FOUNDATIONS
The first week builds the conceptual and artistic foundation of the module. Participants explore facilitation, teaching, and space-holding as artistic practices in themselves: authored forms that carry aesthetics, dramaturgies, rhythms, atmospheres, and compositional choices.
Through discussions, case studies, observation exercises, and collective analysis, the week investigates different pedagogical and facilitation approaches, focusing on how artists can consciously construct spaces that are clear, rigorous, generous, and alive.
Participants begin shaping their own project by identifying intention, context, target group, format, values, boundaries, and artistic language. Particular attention is given to framing: how a collective experience is entered, structured, guided, and concluded.
By the end of the week, participants have developed the first clear foundation of their own authored collective format.
WEEK 2
TESTING, RESEARCH & PILOTING
Week two moves from thought into action. You create a first pilot version of your group practice. This may take the form of: a workshop, a participatory performance, an experience, a class, a research lab, an interactive dispositive, something hybrid and unnamed...
What matters is the frame. How is it entered? How is it held? How does it end? You test your ideas with the group and refine: methods, instructions (exercises), timing, language, transitions, energy management... You begin building your personal toolbox using materials that matter to you: objects, images, sounds, texts, cards, scores, gestures... This week is about translation: How does an inner artistic idea become something others can step into? You begin to understand facilitation as authored composition: the conscious shaping of collective experience through structure, attention, aesthetics, and framing.
WEEK 3
INDIVIDUAL PREPARATION & PUBLIC IMPLEMENTATION
The first part of the week is dedicated to preparation and integration. Participants work independently to refine their format, clarify their dramaturgy, strengthen their structure, and prepare the materials, scores, and spatial arrangements necessary for their facilitation.
The second part becomes the public implementation weekend. External participants enter the spaces and experience the proposed formats under real conditions. Participants facilitate their one-hour workshop, laboratory, experience, or performative structure while receiving precise feedback regarding clarity, authorship, pacing, atmosphere, spatial composition, responsiveness, and group management.
Particular attention is given to the question of frame: how to create collective artistic experiences that remain transparent, coherent, respectful, and sustainable while maintaining a strong artistic identity and clear authorship.
WEEK 4
DOCUMENTATION & FUTURE DEVELOPMENT
The final week supports you in grounding, articulating, and projecting your work forward. You learn how to document your methods, structure your project, and create clear descriptions for future partners, institutions, and communities. Daily online prompts guide your reflective writing, helping you define your framework, contextualize your approach, and identify next steps.
By the end of this week, you have a clear documentation package — a description, methodology, intentions, and potential formats — enabling you to present your project, propose collaborations, or continue developing your practice independently.
SPECIAL APPLICATION REQUIREMENTS FOR THIS SPECIFIC MODULE:
THEORY & PROJECT FOUNDATIONS
The first week builds the conceptual and artistic foundation of the module. Participants explore facilitation, teaching, and space-holding as artistic practices in themselves: authored forms that carry aesthetics, dramaturgies, rhythms, atmospheres, and compositional choices.
Through discussions, case studies, observation exercises, and collective analysis, the week investigates different pedagogical and facilitation approaches, focusing on how artists can consciously construct spaces that are clear, rigorous, generous, and alive.
Participants begin shaping their own project by identifying intention, context, target group, format, values, boundaries, and artistic language. Particular attention is given to framing: how a collective experience is entered, structured, guided, and concluded.
By the end of the week, participants have developed the first clear foundation of their own authored collective format.
WEEK 2
TESTING, RESEARCH & PILOTING
Week two moves from thought into action. You create a first pilot version of your group practice. This may take the form of: a workshop, a participatory performance, an experience, a class, a research lab, an interactive dispositive, something hybrid and unnamed...
What matters is the frame. How is it entered? How is it held? How does it end? You test your ideas with the group and refine: methods, instructions (exercises), timing, language, transitions, energy management... You begin building your personal toolbox using materials that matter to you: objects, images, sounds, texts, cards, scores, gestures... This week is about translation: How does an inner artistic idea become something others can step into? You begin to understand facilitation as authored composition: the conscious shaping of collective experience through structure, attention, aesthetics, and framing.
WEEK 3
INDIVIDUAL PREPARATION & PUBLIC IMPLEMENTATION
The first part of the week is dedicated to preparation and integration. Participants work independently to refine their format, clarify their dramaturgy, strengthen their structure, and prepare the materials, scores, and spatial arrangements necessary for their facilitation.
The second part becomes the public implementation weekend. External participants enter the spaces and experience the proposed formats under real conditions. Participants facilitate their one-hour workshop, laboratory, experience, or performative structure while receiving precise feedback regarding clarity, authorship, pacing, atmosphere, spatial composition, responsiveness, and group management.
Particular attention is given to the question of frame: how to create collective artistic experiences that remain transparent, coherent, respectful, and sustainable while maintaining a strong artistic identity and clear authorship.
WEEK 4
DOCUMENTATION & FUTURE DEVELOPMENT
The final week supports you in grounding, articulating, and projecting your work forward. You learn how to document your methods, structure your project, and create clear descriptions for future partners, institutions, and communities. Daily online prompts guide your reflective writing, helping you define your framework, contextualize your approach, and identify next steps.
By the end of this week, you have a clear documentation package — a description, methodology, intentions, and potential formats — enabling you to present your project, propose collaborations, or continue developing your practice independently.
SPECIAL APPLICATION REQUIREMENTS FOR THIS SPECIFIC MODULE:
- have a minimum of one year of artistic or creative practice, whether independently or through academic training,
- have some experience with self-reflective or self-awareness-based practices,
- be interested in facilitation and pedagogy as artistic practices,
- wish to work primarily within artistic and creative contexts rather than therapeutic or healing frameworks,
- and have at least one prior experience leading, co-leading, teaching, facilitating, or holding space within a collective setting.
practical information
ORGANIZATION & APPLICATION
Locations:
Our masterclass program takes place in Budapest, in Anna Ádám Studio. For certain modules, we occasionally work in public space or outdoors, stepping into the city and into nature when the work calls for it. We choose to move between indoors and outdoors to change horizon, to learn from the structures and rhythms around us: human, vegetal, architectural. What happens in the studio connects to the world; learning is porous, relational, alive.
Teaching language:
English
Flexibility
You can join just one module, a few, or complete all seven to shape your own learning journey.
Admissions process
Admission to the School of Disobedience is selective. We work with small groups and look for applicants who demonstrate an active artistic practice, curiosity, commitment, and readiness to engage seriously with experimentation, feedback, assignments, and the pedagogical frame of the school.
1. Online application
Fill in the online application form and, in parallel, send us your portfolio presenting your artistic practice.
Your portfolio should include a selection of recent works that allows us to understand your artistic language, methods, and current direction.
Applications are reviewed on the basis of both the form and the submitted portfolio.
2. Creative admission exercise
Shortlisted applicants receive a creative prompt in either Performance or Creative Writing.
You will have one week to develop and submit your proposition.
The exercise allows us to understand how you work with artistic instructions, make choices, transform material, and respond to a creative constraint. We are interested in process, specificity, and artistic thinking rather than technical perfection.
3. Artistic interview
Applicants selected after the creative exercise are invited to a 30-minute online conversation with Anna Ádám, founder and artistic director of the school.
The conversation focuses on your artistic practice, the submitted exercise, your current questions, and your readiness for the working methods and expectations of the program.
It is also an opportunity for you to understand the pedagogical frame of the school and determine whether it corresponds to what you are looking for.
4. Final admission
Applicants receive the final decision within one week after the interview.
Admission is based on the artistic application as a whole, including the existing practice, creative exercise, interview, readiness for the pedagogical process, and the composition of the cohort.
Application deadline
Applications are reviewed on a rolling basis and close when a module reaches capacity.
Because groups are intentionally small, we recommend applying early. Submitting an application does not guarantee admission or reserve a place in the program.
Our masterclass program takes place in Budapest, in Anna Ádám Studio. For certain modules, we occasionally work in public space or outdoors, stepping into the city and into nature when the work calls for it. We choose to move between indoors and outdoors to change horizon, to learn from the structures and rhythms around us: human, vegetal, architectural. What happens in the studio connects to the world; learning is porous, relational, alive.
Teaching language:
English
Flexibility
You can join just one module, a few, or complete all seven to shape your own learning journey.
Admissions process
Admission to the School of Disobedience is selective. We work with small groups and look for applicants who demonstrate an active artistic practice, curiosity, commitment, and readiness to engage seriously with experimentation, feedback, assignments, and the pedagogical frame of the school.
1. Online application
Fill in the online application form and, in parallel, send us your portfolio presenting your artistic practice.
Your portfolio should include a selection of recent works that allows us to understand your artistic language, methods, and current direction.
Applications are reviewed on the basis of both the form and the submitted portfolio.
2. Creative admission exercise
Shortlisted applicants receive a creative prompt in either Performance or Creative Writing.
You will have one week to develop and submit your proposition.
The exercise allows us to understand how you work with artistic instructions, make choices, transform material, and respond to a creative constraint. We are interested in process, specificity, and artistic thinking rather than technical perfection.
3. Artistic interview
Applicants selected after the creative exercise are invited to a 30-minute online conversation with Anna Ádám, founder and artistic director of the school.
The conversation focuses on your artistic practice, the submitted exercise, your current questions, and your readiness for the working methods and expectations of the program.
It is also an opportunity for you to understand the pedagogical frame of the school and determine whether it corresponds to what you are looking for.
4. Final admission
Applicants receive the final decision within one week after the interview.
Admission is based on the artistic application as a whole, including the existing practice, creative exercise, interview, readiness for the pedagogical process, and the composition of the cohort.
Application deadline
Applications are reviewed on a rolling basis and close when a module reaches capacity.
Because groups are intentionally small, we recommend applying early. Submitting an application does not guarantee admission or reserve a place in the program.
PRICE
You can join just one module, a few, or complete all seven to shape your own learning journey.
1000 € / Module
1000 € / Module
FOR APPLICANTS CONSIDERING THE FULL PROGRAM
Choosing to join the full series of masterclasses means committing to a year-long immersive journey into performance art — one that is intentionally designed with its own dramaturgy, rhythm, and internal logic.
The program is not a collection of isolated workshops. It is a carefully curated sequence in which each module deepens, expands, and complexifies the previous one. Taken together, the modules form a complete ecosystem of artistic learning.
Why the full program is unique
Because it merges:
Most programs teach performance art through theory or technique. Here, you learn through embodiment, practice, relation, and making.
Each module offers a different entry point — nature, city, dance, visual arts, choreography, solo creation, people — but performance art remains the spine throughout. You investigate the same questions (presence, relation, materiality, attention, composition, authenticity) through shifting lenses that reveal new meanings each time.
This multi-perspective approach gives you:
What the dramaturgy offers
The sequence of modules is intentional.
It moves from outer environments to inner experience, from collective ecologies to individual authorship, and from playful exploration to professional articulation.
The dramaturgy is built like the creation of a performance:
The full arc mirrors an artistic lifecycle:
perception → embodiment → experimentation → composition → authorship → transmission.
Why it is beneficial
Because by the end of the full program, you will have:
The program is not a collection of isolated workshops. It is a carefully curated sequence in which each module deepens, expands, and complexifies the previous one. Taken together, the modules form a complete ecosystem of artistic learning.
Why the full program is unique
Because it merges:
- somatic research
- artistic experimentation
- interdisciplinary tools
- dramaturgical thinking
- process-oriented creation
- mentorship
- and professional development
Most programs teach performance art through theory or technique. Here, you learn through embodiment, practice, relation, and making.
Each module offers a different entry point — nature, city, dance, visual arts, choreography, solo creation, people — but performance art remains the spine throughout. You investigate the same questions (presence, relation, materiality, attention, composition, authenticity) through shifting lenses that reveal new meanings each time.
This multi-perspective approach gives you:
- a broad, 360° vision of the field
- the agility to move between contexts
- the confidence to build your own artistic language
- and the clarity to position yourself professionally.
What the dramaturgy offers
The sequence of modules is intentional.
It moves from outer environments to inner experience, from collective ecologies to individual authorship, and from playful exploration to professional articulation.
The dramaturgy is built like the creation of a performance:
- Sensing the world (Modules 1–2: nature, city):
- Entering the body (Module 3: movement and dance)
- Activating materials (Module 4: visual arts and objects)
- Learning composition (Module 5: scores and group processes)
- Finding your voice (Module 6: solo practice)
- Placing the work in the world (Module 7: groups and social space)
The full arc mirrors an artistic lifecycle:
perception → embodiment → experimentation → composition → authorship → transmission.
Why it is beneficial
Because by the end of the full program, you will have:
- a strong somatic foundation
- a rich cross-disciplinary vocabulary
- experience working with nature, architecture, movement, objects, text, voice, and communities
- a portfolio of performance experiments
- several finished pieces
- an artistic methodology you can articulate
- clarity about your artistic lineage and voice
- and a network of peers who witnessed your evolution
FAQ
What will I receive at the end of the program?
If you meet the requirements and take the final assessment(s), you will receive a certificate of completion upon finishing the module.
Is there any age limit?
No. By creating an age-diverse group, we want to tap into the strengths of participants of all ages and build a stronger, more resilient, and open-minded community that recognizes one another's knowledge and experiences.
Is there an application, registration or administration fee?
No.
What is the deadline for paying the program fee?
Your spot is reserved as soon as you transfer the tuition fee. Without the payment, we can not keep your spot booked for you.
What is the level of the technical and repertoire classes?
In our technical and repertoire classes, our facilitators prioritize individualized learning experiences. You'll have the freedom to explore, discover, and deepen your skills at your own pace.
Does the Masterclass program provide accommodation?
No, we don't, you are responsible for your own accommodation. Don't worry though; Budapest offers many options, and we're here to assist you in finding the perfect place. We also rent two rooms in the studio.
What are the living costs in Budapest?
Budapest is still somewhat cheaper than other major Western European cities. If you choose to rent a room in a shared flat, it will cost around 450-550€/month. A small studio apartment costs around 600-800€/month.
If you meet the requirements and take the final assessment(s), you will receive a certificate of completion upon finishing the module.
Is there any age limit?
No. By creating an age-diverse group, we want to tap into the strengths of participants of all ages and build a stronger, more resilient, and open-minded community that recognizes one another's knowledge and experiences.
Is there an application, registration or administration fee?
No.
What is the deadline for paying the program fee?
Your spot is reserved as soon as you transfer the tuition fee. Without the payment, we can not keep your spot booked for you.
What is the level of the technical and repertoire classes?
In our technical and repertoire classes, our facilitators prioritize individualized learning experiences. You'll have the freedom to explore, discover, and deepen your skills at your own pace.
Does the Masterclass program provide accommodation?
No, we don't, you are responsible for your own accommodation. Don't worry though; Budapest offers many options, and we're here to assist you in finding the perfect place. We also rent two rooms in the studio.
What are the living costs in Budapest?
Budapest is still somewhat cheaper than other major Western European cities. If you choose to rent a room in a shared flat, it will cost around 450-550€/month. A small studio apartment costs around 600-800€/month.
2026/27 FACILITATORS
- Anna Ádám (artist, founder, program creator)
- Kata Balogh (performer and maker)
- Lucie Blaževská (artist and maker) / PAST STUDENT (2026)
- Luca Borsos (actress and maker)
- Relle Brugman (dancer and maker) / PAST STUDENT (2024)
- Ráhel Csizmadia (researcher)
- Júlia Eszter Gaál (dancer)
- Andrea Lim (violonist and sound artist) / PAST STUDENT (2025)
- Sándor Petrovics (dancer and maker)
- Zita Thury (dancer and maker)