Our current issue focuses on performances which treat classic materials with contemporary freedom.
Encouraged by Robert Wilson, Tom Waits and his wife, Kathleen Brennan created a soundtrack for Woyzeck – the play premiered in 2000 in the Betty Nansen Theatre in Copenhagen. Their version has been played througout Europe. The Katona József Theatre staged Woyzeck with director Tamás Ascher’s own perspective, and made a new Büchner interpretation. The artisic crew accomplished good teamwork and outstanding individual performance.
The Örkény Theater had two important premiers recently: both were directed by Pál Mácsai, but the two productions use a diffent atmosphere and stage language. The simple and puritan A View From The Bridge focuses on the human aspect, while Tarelkin's Death is based on creative ideas and the grotesque; the performance makes an interesting ambience theatre piece of Szuhovo-Kobilin’s play. Written in 1869, the piece is about the madness and mechanisms of power.
In the past five years the Central European Dance Theatre has seen many changes. The director of the company talks about their golas, plans and achievments. We review their recent works including Artterror, Io sono and the Shakespeare series: Irrevokable insipred by King Lear, Tempest and Tales from Shakespeare.
Shakespeare inspired several new dance pieces. Besides the series of the Central European Dance Theatre, we review Otello from the Pécs Ballet and Barta Dóra Company’s version of Romeo and Juliet.
Two fresh independent companyies made adaptations of classic pieces: Hoppart staged a modern version of Shakespeare’s As You Like It, and created a freeflowing play of the classic Hungarian opera János Háry by Zoltán Kodály. Szputnyik Company created a classroom remake of the classic Greek tragedy Antigone. They also stages Top Stoppard’s Shakespeare variation of Rosencrantz and Guildenstern Are Dead. We review the performance of the renewed Dance Faculty in Eger as well.