Biography
Attila Andrási is a Hungarian, London‑based contemporary dance artist and choreographer whose work bridges somatic practice, pedagogy, and performance. Grounded in practice‑led research, Attila investigates neurodivergent perception and processing as creative method—treating attention, impulse, and regulation as choreographic materials. This inquiry challenges dominant neurotypical frames and opens alternative pathways for making, teaching, and seeing dance.
Attila’s performances weave materiality and presence, moving between hyper‑expressive theatricality and durational, indulgent quiet. Solo works foreground a self‑regulatory system that allows body and mind to navigate flux, with structures designed to hold risk, play, and precision. Visual and abstract vocabularies emerge through whimsicality, gestural detail, and an exploration of queer masculinity. Across projects, Attila favors non‑linear composition, treating time as elastic and narrative as porous.
As an educator, Attila cultivates studios where sensation leads form. Classes synthesise somatic tools, task‑based improvisation, and reflective writing to support resilient, self‑aware artists. Pedagogical interests include accessibility, consent‑based facilitation, and translating research into performance scores.
His latest work "Breeze," researched at PARL 2025 (Performance Art Research Lab), and his recently initiated solo performance research "Gently Fuck The System" focus on the dramaturgies of regulation and overstimulation, material-body feedback loops, and composing attention as an audience experience.
He is currently undertaking a part-time practice-based PhD at the University of the Arts London titled “Exploring Minor Gestures as a Mode of Appearance in Neurodivergent-Informed Performance Practice” supervised by Professor Adrian Kear and Professor Vida Midgelow.
He is an "Activator" member of the Chisenhale Dance Space Artist Community and recently established the Neurodivergent Creative Interest Group at the University of the Arts London.
