Rebeka Mondovics

Motivation for participating in TPO ChoreoLab:
I am currently in an intense phase of artistic research and exploration, and I see TPO ChoreoLab as a rare opportunity to immerse myself in a collaborative, process-driven environment. I’m eager to challenge my own choreographic habits, expand my perspective through dialogue with other artists, and experiment within a space that values curiosity, vulnerability, and creative risk

Artistic lines of enquiry / topic I am working on:
I am currently developing a choreographic process that engages with physical archives from past performative traditions. Rather than reconstructing historical material, I explore how it resonates within the contemporary body. I’m interested in how movement systems carry cultural meaning and how they create dissonance when re-encountered today. This research positions the body as a living archive — a vessel through which gestures, impulses, and memories are continually reshaped. It becomes a sensate, thinking entity — one that navigates the space between memory, transformation, and renewed embodiment.

This inquiry informs a broader choreographic approach that views movement as a dialogue between historical structures and present corporeality. I use structured improvisation, spatial and rhythmic complexity, and cognitive physical tasks to create processes that challenge performers to engage with their physical intelligence and question habitual paLerns.

The following choreographers inspire me:
Marina Marscarell, JeNa van Dinther, Marcos Morau, William Forsythe

The most amazing piece(es), I have ever seen:
Cascade - Damaged Goods/ Meg Stuart Protagonist- JeNa van Dinther
Yes we can’t- William Forsythe
Sonoma- Marcos Morau

If I hadn't become a choreographer/dancer, I would be:
film director or painter

If I were an animal, I would be:
an octopus