Plays of Fate

Our current issue focuses on performances depicting stories of fate.

The classic Hungarian piece, The Unhappy Ones written in 1914 by Milán Füst was staged by two directors this season. We reviewed the piece staged in Zalaegerszeg by Gábor Koltai M. in our previous issue. János Szász staged a different version for the Radnóti Theatre; Szász, also known as a film director, interprets the play as a contemporary fate story. The performance is reviewed by István Sándor L, followed by an interview with the director.

Stúdió „K” Theater staged a performance in April in cooperation with the Békés County Jókai Theatre; András Szeredás’ new piece is entitled Chaos in Thebes. The script is based on the Euripides tragedy, The Bacchae. Director Tamás Fodor focuses on how to handle change in a frustrated and volatile political environment. The performance is reviewed by Mónika Szűcs.

The new performance of the Ágens Company, Fatum is the second piece of the triptych beginning last year with Ira (Fury) shedding light on the characteristics of anger and lifting it into an elevated world of magic, where thought is embodied in a force of creation. Fatum, in turn, studies unavoidable fate and death. The fate play is based on the classic Greek dramaturgy of tragedies, complemented by the Golem-story as a side theme. The review is followed by an interview with Ágens, Zsuzsanna Madák and Éva Bakos, written by György Karsai and Mátyás Varga.

Recently more and more Samuel Beckett plays make their appearance on the list of physical and dance theatre performances, aiming to exceed the limits of the traditional theatre experience. Balázs Simon staged a piece called Catastrophe Marathon with the dancers and actors of Tünet Együttes (The Symptoms). The performance is based on Beckett’s short plays and voice plays. The Figura Studio Theatre of Gyergyószentmiklós staged Three Dances to Beckett; Vava Stefanescu created the choreography on the basis of Beckett’s two silent plays and a short scene. Choreographer and director Csaba Horváth and Fortedanse recently performed a two-night piece, the first being Happy Days written in 1960, the second Waiting for Godot. The twin pieces are reviewed by Edit Barta.

Our current issue features the third part of Csaba Králl’s essay on the 30 years of history of the Győr Ballet.

10. 05. 22. | Nyomtatás |