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.
Theatre
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IF YOU SEE A DRAGON COMING, YOU PULL A SWORD
LASTING FRIENDSHIPS An interview with Philip Arnoult
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.
“IT WOULD BE A SHAME TO WIPE IT OFF THE MAP” András Török, the former president of the National Cultural Fund.
Its launch in 1994 was glorious and full of hope. It was an independent organization set out to finance culture. It was gradually subjugated, then engulfed by the ministry, by power. In 2019 almost 11 billion HUF was available, the lion’s share of which was used by the minister and the projects determined by the ministry. AN INTERVIEW BY JUDIT CSÁKI.
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LOOK AROUND YOU AND LIVE YOUR OWN LIFE! AN interview with Deborah Zoe Laufer
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.
REVOLUTION IS A NECESSARY CAUSE, BUT IMPOSSIBLE TODAY An interview with director Kokan Mladenović
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.
A DOOR Svetlana Alexievich: Secondhand / Örkény Theatre
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.
IDENTICAL TRACKLISTS MDLSX / Motus (IT), Trafó
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.
“WHERE THERE IS COWARDICE, WINKING RETURNS” A conversation with Róbert Alföldi
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.
AIMING THE GUTS FC Bergman (BE): 300 el x 50 el x 30 el
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
VOICES FROM THE DARK An afterword to the New York Hungary Live Festival
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.
TOTAL ECLIPSE OF THE MOON Imre Mózsik– Viktor Bodó: Operation Krakken / Átrium, Kultúrbrigád
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
GLOSTER, THE REPTILE Shakespeare: Richard III. / Radnóti Miklós Theatre
His face is yellow beneath the high-gloss strap of the black crown. It’s almost phosphorescent. He is Richard the demon who knows what to think of a human being in order to corrupt him adequately. BY KATALIN GABNAI.
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BEST OF ESTERHÁZY Péter Esterházy: Mercedes Benz / Tesla Teátrum
The new play of Péter Esterházy called Mercedes Benz premiered in Tesla Teátrum in a Reader’s Theater – apparently for a single special occasion. BY PÉTER POGRÁNYI.
THE MAGIC OF LIFE György Dragomán: The Bone Fire / Staatsschauspiel Dresden and Vígszínház
One in three: György Dragomán’s novel, The Bone Fire was set on stage in four theatres of three countries as a result of a special co-operation. By KRISZTINA VAGDALT.
FEELING THEATRE Radu Afrim: Retro bird hits the block and falls on the hot asphalt / National Theatre Târgu-Mureş Tompa Miklós Company
In the past everything was better, everything was better in the past. This is at least is certainly revealed in the gigantic venture of Radu Afrim in Marosvásárhely (Târgu Mureș). REVIEW BY TAMÁS JÁSZAY.
THE TABLES HAVE TURNED Kornél Mundruczó– Proton Theater: Imitation of Life / Trafó
Imitation of Life is a documentarist gothic tale in the manner of Kornél Mundruczó. BY TAMÁS JÁSZAY.
CLICK TO CONTINUE The Day of Fury – Krétakör / Trafó
A drop in the ocean, pars pro toto, a lot of ordinary people, a clichéd story, reality, Shaw – or what you will, and what you won’t. The theatre of Árpád Schilling is a mirror into which even those who feel to be innocent in creating the world we live in look with a sense of dread. Neither the witness, nor the victim is shown clemency. REVIEW BY JUDIT CSÁKI.