Companies in Transition

In the focus of our first section is the premiere of Kalevala put on stage by Csaba Horváth, an exceptional Hungarian choreographer. The performance is a fusion of dance and theatre showing the recent tendency of the artist moving from the one to the other. In his newly assembled company called Fortedanse he invited several young actors from the theatre of Debrecen. Besides the analysis of the performance we offer an interview with these actors.

Attila Vidnyánszky, stage director and successful artistic director of the Hungarian company in Beregovo fills up our second section. He has been the artistic director of the Csokonai Theatre, Debrecen for two years keeping the company in permanent evolution. His poetically composed performances utterly differ from the theatrical language used in our country. We write about The Eaglet and Gentry Skylarking and also publish a thorough interview with him.

Another Gentry Skylarking (from Móricz's classical novel) was directed at Kaposvár. The director, Gábor Rusznyák is an intriguing member of the generation under 40 who seems to be strongly connected to the realistic tradition but in the same time pushing its boundaries towards the surreal. A study on the piece and an interview with the director are offered. In the latter we raise political questions besides the aesthetical ones, as the company in Kaposvár is also in transition since the political battlefield has intruded in its valuable artistic workshop.

Some years ago an actors' training school was established in Kaposvár in close co-operation with the theatre. We present the newly graduates of it: they talk about their school experiences and future plans. We write about their graduation performance: Marat Taram directed by Gábor Rusznyák.

Vidnyánszky's third performance is in focus in the critical section: this time he worked with his first company from Beregovo. We publish studies on dance productions by Zoltán Fodor (Dido) and Dóra Barta (The House of Bernarda Alba).



08. 08. 12. | Nyomtatás |