The movement theatre language employed by Péter Uray is based on the specific form of contact-dance techniques, the integration of folk dance moves into actorial movement systems and a powerful gesture-choreography that is built communally by the actors during rehearsals. Due to this, the overall movement gains a tremendously lot of individual color and the relation of the actors to the movements becomes more intimate than in regular dance-related choreographies. The ballad-like narrative of The Mill presents a wonderful opportunity to create a dense, dramatic movement-theatre piece. The mill that is at the middle of nowhere is a cursed place that is shunned even by the audience. The miller is a silent, headstrong man destined to solitude in this accursed place haunted only by the ghost of his dead wife. A boy who due to his own poverty cannot marry his love starts working for the miller. One night guests show up at the mill: two men and a woman look for a place to stay for the night. A strange trio bearing certain animalistic traits. The boy allows them in in a delusional state, drinks and parties with them and when looses his memories, makes love to the maddened woman. The girl starting out on her journey to find her far away lover makes herself up like someone going for their last journey and in the mill Fate is taking control…

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