Krízisben A papnő: egy helykereső előadás emlékezete
In Crisis. The Priestess: The Interpretation of a Performance Seeking Its Place

Summary/Abstract: Tamás Jászay writes in his study about the performance created by Krétakör-founder Árpád Schilling as part of his Crisis Trilogy (2011) in Transylvania. As Krétakör moved away, after 2007, from a repertoire-like theatre activity and initiated creative community games, the three performances of the Crisis Trilogy – jp.co.de in Prague, Ungrateful Bastards in Munich and The Priestess, presented in Budapest, but created through workshops in Transylvania – followed very different routes regarding their theatrical language, aesthetics, creation methods, mechanism of effects, and even regarding their targeted audiences. The case of The Priestess, created with young people recruited from Transylvanian villages, in collaboration with Sf. Gheorghe-based Osonó Theatre, is exceptionally interesting. The performance presents the story of a well-known actress moving from the capital to the countryside, with the intention to change the life of students living there through educational drama activities. The Priestess, the performance, is an educational drama activity itself, repositioning actors and spectators according to the framework of educational theatre programs. What all that meant in the location where it was created, how it functioned in Budapest and what audiences saw from it in Vienna, Brussels or even Tokyo – this is what Jászay summarizes in his study.

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