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Réka Hegyi reviews a performance of a smaller, experimental theatrical team. Advertego, a production of Waiting Room Project directed by Bálint Botos is a reflection on the company itself and on independent theatrical existence.
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Bea Kovács reviews a performance of a smaller, experimental theatrical team. Parallel, created by Ferenc Sinkó with the Groundfloor Group at the Brush Factory explores the theme of sexual identity.
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Boglárka Gál writes about the newest production of an independent theatre from Tirgu Mures. The Yorick Studio’s Do You Like Banana, Comrades? (d.: Sorin Militaru) is based on Csaba Székely’s award-winning radio-play.
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Panni Puskás writes for us about Tarelkin’s Death (director: Tufan Imamutdinov) from the Tg-Mures National Theatre, which she saw at the Humour Festival of Thalia Theatre in Budapest.
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Silviu Purcărete has returned to the Hungarian Theatre in Cluj. Yvette Jankó-Szép writes about the latest performance created by the renowned director with Roger Vitrac’s Victor, or Power to the Children.
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In line with the theme of the current issue – Romanian theatre – the review column focuses on productions of Hungarian companies directed by Romanian directors. This was not a difficult endeavour as both Hungarian theatres in Transylvania as well as the larger Hungarian theatrical scene have benefited from the regular presence of Romanian directors. Andrea György reviews Alceste (Alkésztisz) at the Târgu-Mureș Theatre, a rewriting by Székely Csaba, based of Euripides’ tragedy and directed by Sorin Militaru.
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Kata Köllő writes about another production of the Tompa Miklós Company of the Târgu-Mureș National Theatre: Radu Afrim’s The Devil’s Casting (Az ördög próbája), which was the surprise production of their season, the theme and the special improvisational technique of the performance being only slowly leaked to the media by the creative team.
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Mihai Măniuțiu has been an influential directorial presence at the Hungarian Theatre in Cluj, returning regularily to work there. Tünde Kocsis reviews his latest work which starts from Johannes von Tepl’s Death and the Ploughman (A földműves és a halál) and places the encounter with death in a present-day context.
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Tamás Lovassy Cseh also writes about a Cluj production, Demons (Démonok), in which Jolly Theatre and the Artimo Company placed Lars Norén’s story about middle class relationship-crises in the upper-class milieu and presented it in apartment-theatre conditions.
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Katalin Deák’s review is about the latest premiere at Odorheiu Secuiesc with Sophocles’s Oedipus directed by Sorin Militaru. Any new interpretation of ancient tragedies raises questions not only about creative methods but also about issues of theatre history.
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Beatrix Kricsfalusi deals with another Sophocles performance, Antigone at the Debrecen Theatre. The director of the performance is Romanian Anca Bradu who works both in her home country as well as in Hungary and Serbia.
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Árpád Bíró writes about Waiting for Godot at the Oradea Hungarian Theatre, staged by István Szabó K.
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“I am talking about a real dialogue that goes beyond formalities: Romanian directors working with the Hungarian company or the other way round, the mutual staging of plays – these are realities that have existed until now as well, they were not invented by us! Like Molière’s Jourdain, who was speaking in prose without being aware of it, we are in an intercultural space whether we want it or not.“– declares Alina Nelega, the director of the Liviu Rebreanu Company of the Târgu-Mureș National Theatre.
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Miruna Runcan, critic and university professor in Cluj states in her inquiry into the anatomy of the theatre audience: „In the selected and restricted circle of „cultured” audience members and artists (the substitute of a royal court or a religious sect) among whom the habit of reading has been lavishly exchanged for bookish comparatism the audience members are regularly submitted to blue-blood tests, with the help of a pea, as it happened with the princess in Andersen’s tale.”
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Marian Popescu, Bucharest based critic and university professor discusses the recent changes in theatre: „While the theatrical act as artistic practice keeps trying to get rid of the constraints of the theatre building, at the same time, as a type of social communication it appropriates the insignia of the new technologies in order to attract the audience into its own visual economy: the “witness” quality of the audience is gradually transformed to “user”.”
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Ion Vartic, literary historian, theatre theorist and esthete from Cluj writes about Hedda Gabler: „...the orgiastic experience as irrational impulse is repugnant to these heroines (who, as a matter of fact are very sober), but they are unable to resist it. (...) In these moments, Ibsen’s women are like the Bacchae possessed by Dionysian impulse which makes them to tear to pieces the lonely and contemplative Orpheus.”
More...A színészi alkotásról a Hedda Gabler és a Romok Igaz Menedék című előadásokban
Enikő Györgyjakab writes about two rehearsal processes and two working methods: the work with Andrei Șerban (Hedda Gabler), and with the choreographer Yolanda Snaith (Ruins True Refuge).
More...A müncheni Radikal Jung fesztiválról
In the focus of Eszter Bíró’s writing is Radikal Jung (Radical Young), a festival organized by Münchener Volksbühne especially to present and inspire young theatre directors. Many of the performances are site-specific, deal with social issues and are built on audience participation: activism and aesthetic quality, identity crisis and search for identity can all be heard among the new theatrical voices. At the beginning of the series presenting fresh theatrical trends there is a short interview with the festival manager-director Christian Stückl.
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Ádám Burák reported to our magazine about the theatrical life of Off-West End in London. After Othello at the 50 years old National Theatre and the expressionistic staging of Georg Kaiser’s From Morning to Midnight he writes about Woyczek, the experimental-dance performance of the Punchdrunk Company founded in 2000. Other performances mentioned in the article are the spectacular Magic Flute by Complicité and the English National Opera and The Ritual Slaughter of Gorge Mastromas at the Royal Court.
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