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. More
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. More
The Whiskey Bandit turned out to be a professionally orchestrated, dynamic genre piece with convincing acting and splendid music. BY TÍMEA HUNGLER. More
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. More
It is possible that God does not exist at all, but nevertheless, or for that very reason, one can believe in him, one can pray to him, and, as many will testify from experience, one must fear him. (And according to Voltaire, as we all know, if He didn’t exist, it would be necessary to invent him. More
The simplest recipe is that of success: write it, direct it, act it. That is the third season of In Treatment to a tee. BY JUDIT CSÁKI. More
The booklet, already remarkable in itself as an object, contains illustrated essays originally published on litera.hu, and is a real bonus for the author.
BY PÉTER POGRÁNYI.
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There is tension between the two words of the title. Flowers are associated with beauty, gobbling belongs to ugliness. But is the greed with which one gobbles flowers beautiful or ugly? And can one live on gobbling petals? More
Jelenkor publishing house presents us with yet another sophisticated looking volume, On a Fantastic Journey, which is a collection of Péter Nádas’s seven essays that were published in journals or read openly in the past years, all of them busying around social-political issues. BY GÖKHAN AYHAN. More
Snow frozen stiff cracks under the hooves of a beautiful deer in the wintery forest of dreams saturated with a strange, atmospheric sense of reality. After many years Ildikó Enyedi gives us a story, food for thought and a bit of magic. BY ZSOLT GYENGE. More
Why is it worth our time to watch Chaplin’s 80 year old silent movie? REVIEW BY TAMÁS SOÓS. More
No matter how I look at it, being broke becomes Szabolcs Hajdu. It dresses him. With creativity, tightness and intensity. And he knows everything about the miseries embittering the life of Hungarian families today, about the rainbow of unhappiness and longing. More
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. More
I browse through the reviews, „the difficulty of the enterprise is indicated by the agony at the outset”, I see now and again, yes, this method works too, criticism replaced by ample quotes, what’s more, quoting a quote quoted by Esterházy. REVIEW BY GÁBOR NÉMETH. More
A refugee hovering as a superhero-angel is the symbolic centre of Kornél Mundruczó’s film competing in Cannes, a grand opus stating the naivety and superfluity of miracles. REVIEW BY ZSOLT GYENGE. More
