Where are the heroes?

Our current issue analyses today's relationship with idealism and focuses on contemporary stage heroes.

Our first essay is a commemoration of Géza Fodor, recently deceased founder, dramaturg and central figure of leading alternative playhouse Katona József Theatre. We wish to pay homage to Fodor's memory by reviewing his last dramaturgy: Gorky's Barbarians was staged a month after his death, November 2008 in Katona József Theatre. The play was directed by Tamás Ascher. The performance, offering a wide range of classic stage virtues and outstanding acting, centres on the question whether or not heroism is an alternative in a helplessly mediocre environment; whether there are energies pushing the world away from its current blind alley, towards a different kind of fate.

The Bárka Festival proved to be a significant event of the current theatre season;  amongst local performances, several foreign productions were also staged. The most outstanding one was Riga New Theatre's performance, The Sound of Silence, directed by Alvis Hermanis. (The heroes of freedom, Simon and Garfunkel did not give concert in 1968 in Riga.) Another interesting performance, the School for Fools offered a glance at everyday heroes; the Saint Petersburg's Formalny Theatre play was directed by Andrei Moguchy. It was a truly illuminating experience to see the London Factory and Bárka Theatre's shared experiment to stage Hamlet, as both ensembles already had their own version of the play based on Tim Carroll's groundbreaking stage concept.

We also examine children plays staged in Hungary's foremost independent theatre, Stúdió K, which offer outstanding quality and an intriguing array of theatrical elements, as the dramaturgy and play characteristics are shown from the point of view of the characters. An interview with theatre director Tamás Fodor sheds light on backstage work.

Another recently departed figure of Hungarian theatre is Tibor Leszták, founder of the first independent guest playhouse. One of our essays is an appraisal of his work and legacy while several critical reviews focus on the performances of MU Theatre, founded and led by Leszták (we touch upon the new performance of MU Terminal, offering education and practice to gifted young dancers). Another independent company, being a regular guest in MU Theatre is Viktor Bodó's Szputnyik; we review their recent debut, as well as Ágens' and Klára Pataky's newest pieces.

Amongst the cross-border Hungarian performances we take a look at the Sepsiszentgyörgy play, The Miracle directed by László Bocsárdi. Three further essays focus on the Union of the Theatres of Europe festival in Kolozsvár. We also review Shakespeare's Richard III directed by Gábor Tompa and Matthias Langhof's Quartet completed by an interview with the director.

09. 02. 16. | Nyomtatás |