He supports the Freeszfe Association and condemns the curtailment of artistic freedom. We asked Robert Wilson about the why. He also sent a message to young Hungarians. AN INTERVIEW BY PANNI NÉDER. More
When someone speaks about US and Hungarian theatrical relationships, you cannot miss his name. Philip Arnoult, head of the Center for International Theatre Development (CITD) says that he spent his whole life in different spaces waiting for something to happen. And it was worth doing it. AN INTERVIEW BY TAMÁS JÁSZAY. More
Deborah Zoe Laufer's comedy The Last Schwartz was put on stage at Belvárosi Színház in October. We invited the author to talk about tradition, religion, disintegrating cultures and Tchekhov. AN INTERVIEW BY ÁGNES MERÉNYI. More
Silvia Calderoni’s show makes us behave like the voyeurs of a peep show. The only difference is that she shows us not only her body, but the anxiety and pain as well caused by her physical otherness. A REVIEW BY PANNI PUSKÁS. More
Kokan Mladenović’s name is well known both within and outside the theatre: he is the director who will not keep quiet, and won’t tolerate it from others either. AN INTERVIEW BY ZSÓFI SZERDA. More
Every episode of the show called Secondhand is about the ingloriously deceased (?) Soviet Union, but the performance as a whole is built from us, non-Soviets, it tells our story. By JUDIT CSÁKI. More
Fear Eats the Soul (Átrium), The Crucible (Szombathely) and Richard III (Radnóti Színház) – these are only a few of the shows in which Róbert Alföldi worked in the past season. In 2018 his performances were nominated in five categories for the Theater Critics’ Award. AN INTERVIEW BY PANNI PUSKÁS. More
