In our current issue we analyse the long lasting effects of the 80’s and the change of regime in Hungary that took place in 1989.

In our first column we continue with our essay on the history of the Győr Ballet; the first part of the essay was published in our previous issue. The leading ballet company of the 80’s was lead by choreographer Iván Markó. Csaba Králl gives an outline of the company’s work from 1981 to 1991, the second artistic period of Markó, and his subsequent break with the company.
One of the seasons’ outstanding opuses that went without much critical response is Oedipus the King directed by Gábor Rusznyák in Kaposvár. With its sophisticated concept, interesting and intimate setting and meditative music, the performance highlights good acting and artistic teamwork. Despite the mythology theme the piece is about today’s world; it focuses on the question of how to face our past. The performance is reviewed by Mónika Szűcs, followed by an interview with the director by István Sándor L.
Two new works of director Gábor Koltai M. offer a contemporary reading of a classic material: The Unhappy Ones written by Milán Füst in 1914 was staged in Zalaegerszeg. The play is reviewed by András Forgách. The Danton Case written by Stanisława Przybyszewska (1901–1935) in 1934 has never been performed on a Hungarian stage before; the play was staged in Stúdió „K”. Set at the time of the Jacobin reign of terror, the piece offers a glance at an empty and disillusioned world. The director is analysing the piece in an interview by István Sándor L.
Three contemporary dramatists have been commissioned by the Móricz Zsigmond Theatre in Nyíregyháza to commemorate the 20th century Hungarian writer the theatre was named after. The play of István Tasnádi was directed by Iván Hargitai, András Forgách’s play was staged by Gábor Koltai M. and Zsolt Pozsgai’s work was directed by Géza Bodolay. We review the three performances in our critical column as well as the piece of the contemporary British author, Howard Barker. His play titled Victory was first performed in Hungary in the Bárka Theatre, directed by Tim Carroll.
Philippe Decouflé visited Trafó, the House of Contemporary Arts with a solo piece. The performance of the choreographer-director and the footages running parallel to the performance are analysed by Edit Barta.

10. 04. 12. | Nyomtatás |