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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.
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.
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.
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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.
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.
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.
Imitation of Life is a documentarist gothic tale in the manner of Kornél Mundruczó. BY TAMÁS JÁSZAY.
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.
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