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.
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
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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.
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.
After ten years we had the pleasure of seeing the Belgian Peeping Tom theatre company in Trafó once again. We had a chat with Gabriela Carrizo, the director of Moeder (Mother) about remembrance, time, family and team work. AN INTERVIEW BY PANNI NEDER.
A girl in a hat stumbles helplessly in the conceited chaos of a decaying world: the big question of Sunset is whether the cinematic magic of László Nemes becomes meaningful once again. A REVIEW BY ZSOLT GYENGE.
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.
THE FEMALE BODY EXPERIENCE – WITH SERENE RUTHLESSNESS
Frida Kahlo – Masterpieces from the Museo Dolores Olmedo of Mexico City/ Hungarian National Gallery
„She was the first woman in the history of art to treat, with absolute and uncompromising honesty, one might even say impassive cruelty, those general and specific themes which exclusively affect women” BY ANDREA BORDÁCS.
It is true of all of the FC Bergman collective’s productions, but 300 el x 50 el x 30 el is perhaps the strongest case for it, that the performance works at the viewers’ guts while simultaneously firing off intellectual and emotional triggers. BY FANNI NÁNAY
Béjart provides a simultaneous interpretation of The Magic Flute, creating a one-to-one mapping from the characters of the opera and the music to dancers and movements. BY CSABA KRÁLL.
As I have already alluded: From New York very little is seen of the theatrical world of Europe, let alone Hungary. The first production of the Hungary Live Festival wished to change just that. BY TAMÁS JÁSZAY.
At the 53rd Karlovy Vary International Film Festival, the first screening of László Csuja’s film, Blossom Valley took place on Sunday. Unfortunately the director placed too much confidence in the personality of the female protagonist carrying his first film. A REVIEW BY BORI BUJDOSÓ.
At 4 a.m. Sunday CET the first Hungarian theatrical festival, the Hungary Live Festival was launched with the concert of the Szakértők band. Five days os lectures, concerts, workshops and professional discussions. BY TAMÁS JÁSZAY.
Király utca is „lively” indeed, but as the Body exhibition finally shows, the price of this life is total dehumanization with the human machine revealing its truths of the living dead. BY MÁRIÓ Z. NEMES.
Susan Faludi’s book In the Darkroom is a grand voyage around identity. She writes about personal, family and national identity, about sexual and gender identity, about religious and political affiliations. The subject matter was provided by her own father, the renowned photographer and retoucher and his sex reassignment surgery. How did a historian of photography read Faludi’s book? BY KÁROLY KINCSES.
The second feature film of Árpád Bogdán does not focus on the consistent exploration of a series of tragic events, but on their human dramas. BY MÁRK ZALÁN
Emmanuelle Haïm is a French harpsichord and piano artist, a conductor and an artistic director, who has been one of the most prestigious performers of baroque and 18th century music for decades. The artist and her orchestra, Le Concert d’Astrée founded in 2000 visit the Budapest Spring Festival as a part of a tour from Ireland to Bahrain, during which they perform Italian baroque cantatas. BY JÁNOS MALINA.
Sandro Miller: Malkovich, Malkovich, Malkovich – A Homage to Photographic Masters / Műcsarnok
The project is moving, playful, special: the American fashion and portrait photographer, Sandro Miller has recreated several iconic portraits in the history of photography with the ingenious, chameleon-like John Malkovich. Without him the result would have been questionable, even though the idea is great in itself. BY GYÖNGYI VERES
Good news: Viktor Bodó is back! First of all geographically, as this is his first show at home since the premier of the Diary of a Madman a year and a half ago. And second, aesthetically speaking: the performance evokes the glorious plays of his early career while saturated from start to finish with experience gathered since. BY TAMÁS JÁSZAY
The 9th of January, 2018 was the day Gucci Garden in Florence was opened to the public, bringing about some novelties compared to the earlier narrative, or more accurately creating a new space that moves along the frontier between fiction and palpable reality. BY IRISZ MAÁR.