In the Abyss of Time

In the first section of this issue - focussing on time - we deal with two performances that have nothing in common at the first sight. Yet the two articles on them interfere in many ways. INSTINCT, Pál Frenák's recent choreography leads us into the depth of instincts: a raw, mysterious and obscure territory of vacuity. Andrei Serban, the brilliant Romanian director put on stage Chekhov's Uncle Vania at the Hungarian State Theatre in Kolozsvár. The excellent performance is also an immersion seeking for sincerity, while on the surface it depicts a world where lies thrive.

János Mohácsi directed The Devils at the National Theatre; a free adaptation of Dostoyevsky's novel. The performance gains its unarguable significance by the fact that it talks about the world we live in nowadays: it gives clues on how to interpret it. However, its reception was ambiguous among theatre professionals and the wider public, and this is the reason why we start a professional debate on it. One of the themes of the performance is terrorism, and we take the opportunity to tackle with this topic that also appears in the Polish theatre.

Balázs Kovalik took the post of Art Director of the Hungarian State Opera House in 2007, and he has already directed an intriguing piece: Richard Strauss' Elektra. Kovalik graduated from the Bayer Theatre and Music Academy in Munich in 1997, and returning back to Hungary he put on stage several remarkable opera performances at the Szeged National Theatre, Hungarian State Opera House, International Opera Festival in Miskolc, and the Szentedre Open-Air Theatre. He also directed plays at the Örkény Theatre. Since 2003 he has been the Artistic Director of the Budapest Autumn Festival. Gábor Pap takes an interview with the artist.

In our critical section we write about performances by Péter Gothár (A.I. Vvedensky' s Christmas at the Ivanovs, at the Katona Theatre), Yvette Bozsik (Playground), Éva Duda (The Unknown), and Andrea Nagy (White Birds on Bare Trees).

08. 03. 24. | Nyomtatás |