I love acrobatics for the freedom it offers—the extra dimensions it opens when moving through space. I am not, however, a naturally gifted acrobat. Finding my own path within the vast landscape of acro-dance took time, patience, and experimentation.

Through this process, I developed a personal training method that combines mental exercises, games, and situational drills. The focus is on training the nervous system to cope with risk, speed, and unfamiliar or uncomfortable movement situations. Rather than isolating tricks or breaking movements down into simplified “basics,” I work with irregular exercises that explore the environment around the movement itself. This creates a mental map of possibilities and alternatives, supporting adaptability and confidence.

I also reinterpret classical acrobatic drills, reshaping them into structures that allow space and time to understand movement in its full complexity—while remaining safe and accessible. Strength and confidence are built through intelligent repetition rather than force or pressure.

The class ultimately integrates these techniques into short choreographic sequences that are performative, playful, and physically challenging, encouraging participants to experience acrobatics not as isolated skills, but as an organic extension of dance.

I am originally trained as a contemporary dancer, but for the past few years my focus has shifted toward circus and acrobatic movement. I am a co-founder and core member of OneTwoMany Collective, an independent, contemporary circus company exploring the intersection of dance, circus and theatre.

My professional journey began after graduating from the Budapest Circus Arts and Contemporary Dance College (formerly Budapest Contemporary Dance Academy). I spent nearly a decade as a company member of Duda Éva Dance Company, followed by several years as a freelance performer collaborating with a wide range of choreographers and companies across Hungary.

My artistic interest has always gravitated toward raw, dynamic movement languages that allow for freedom, risk, and physical intensity. This direction was strongly shaped by over a year of training in Paris at the Art du Déplacement Academy, working with the pioneers of parkour, the Yamakasi group. As a contemporary dancer, I also participated in multiple Fighting Monkey workshops, which profoundly influenced both my movement practice and my approach to physical training.

Alongside performing, I work as a creative producer and manager on various projects. I have been involved, among others, as curator and coordinator of the theatre and dance programs at Ozora Festival, bridging experimental performance practices with large-scale cultural events.