Hírek
The Champion
The Champion
Based on Il tabarro and other Puccini’s operas
Music: Antal Kéménczy
Cast
Judit Rezes, Ervin Nagy, Adél Jordán, Zoltán Bezerédi, Anna Pálmai, Ferenc Elek, Zoltán Rajkai
Creatives
| Set-design | Zsolt Khell |
| Costumes | Mari Benedek |
| Director of chorus | Gizi Bagó, Bea Berecz |
| Music | Antal Kéménczy |
| Piano | Antal Kéménczy, Balázs Futó |
| Dramaturg | Éva Enyedi |
| Assistant | Réka Budavári |
| Directed by | Béla Pintér |
“In the spring of 2015, Gábor Máté invited me to direct at the Katona József Theatre. I asked for time to consider. One evening, on the balcony at home,
I was listening again to Puccini’s opera Il tabarro, when suddenly a story set in modern-day Hungary occurred to me. I accepted the invitation.
I was not familiar with any Hungarian version. I had always heard Puccini’s opera in Italian. Thus, my imagination was unbound, and I could easily
substitute in the characters and situations I had created. Later, reading the Hungarian text, it became completely clear that I did not wish to preserve a single sentence. After all, my story takes place in an imaginary small town in Hungary in the late 2010s, and the language took shape appropriately.
The contrast between the glorious music and profane content provides a constant source of humour. At the same time, the natural speech and gestures make the harrowing content more accessible."
Béla Pintér
készülékek.Szilárd Borbély: The Olaszliszka Murder
Szilárd Borbély: The Olaszliszka Murder
One of the storylines of this play – that evokes the form of Greek tragedies – deals with the issue of a 2006 lynching committed at Olaszliszka, the other one presents momentums around the disappearances of the provincial Eastern European Jews– in order to deal with the state of today’s Hungarian society. The story of the lynching is connected to Szilárd Borbély’s personal tragedy at several points; primarily concerning the brutality of the murder: Borbély’s parents were victims of a robbery at Christmas of 2000; his mother was killed, his father was seriously injured. Szilárd Borbély died in 2014. His suicide has shaken up the Hungarian literary and public life deeply.
The script of this production was created with using Szilárd Borbély’s dramas, poems, pieces of prose fiction and personal statements, and also reports of court trials.
Cast
| Victim, 44-year-old | Ernő Fekete |
| His little daughter, 5-year-old | Anna Pálmai |
| His middle daughter, 14-year-old | Blanka Mészáros |
| Chorus leader | Hanna Pálos |
| Rabbi | László Szacsvay |
| A Stranger, with camera | Péter Haumann |
| A Villager | János Bán |
| Judge | Ági Szirtes |
| Prosecutor | Alexandra Borbély |
| Solicitor | Réka Pelsőczy |
| Defendant | Bence Tasnádi |
| Policeman | Dániel Baki |
| Offender I. | Zsolt Dér |
| Offender II. | Endre Papp |
| Set design | Balázs Czieger |
| Costume | Anni Füzér |
| Mask | Zsófia Keresztes |
| Music | Ferenc Kiss |
| Choreography | Máté Hegymegi |
| Video | Marcell Török |
| Dramaturg | Tamara Török |
| Consultant | Zsuzsa Radnóti |
| Assistant | Vera Fejes |
| Directed by | Gábor Máté |
Premiere
9 October, 2015
Length of the production
1 hour 45 minutes, with no interval
Where Even the Woolf Is Good
Gábor Németh’s adaptation of Szilárd Rubin’s novel „The Holy Innocents”
| Cast |
Alexandra Borbély |
| Set-design | Péter Gothár |
| Costumes | Ildi Tihanyi |
| Assistant | Judit Tóth |
| Directed by | Péter Gothár |
Between October 1953 and August 1954 five teenage girls disappeared in a small Hungarian city called Törökszentmiklós. The playgrounds turned empty, children were not let go to school alone, some people suspected some Jews, others suspected CIA agents of kidnapping the girls.
Some time later the twenty-year old Piroska Jancsó fell under suspicion. She first said that the girls were raped and murdered by the local soldiers of the Soviet Army, then she confessed to have committed the erotogenic murders alone, moreover, accused her mother of complicity. She was committed to death.
Twelve years later Szilárd Rubin fell in love with the dead girl after seeing her photo. He suspected of a false accusation behind the judgement and started to investigate. He worked on his novel "Holy Innocents", which speaks about Piroska, for more than forty years. It was published in 2012, after the author's death.
Péter Gothár's performance tries to re-enact the investigation, the trial and Rubin's impossible love for Piroska.
Premiere: 14 February, 2014
Peter Weiss: M/S
The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade
| The Heralds | Adél Jordán Bence Tasnádi |
| Marquis de Sade | Ernő Fekete |
| Jean Paul Marat | Lehel Kovács |
| Simonne Evrard | Péter Takátsy |
| Charlotte Corday | Hanna Pálos |
| Duperret | István Dankó |
| Jacques Roux | Béla Mészáros |
| Mail nurse | László Szacsvay |
| Coulmier | Zoltán Rajkai |
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| Set and costume design | Eszter Kálmán |
| Choreography | Máté Hegymegi |
| Composers | Árpád Kákonyi Tamás Matkó |
| Dramaturg | Enikő Perczel |
| Dramaturg consultant | Annamária Radnai |
| Assistant | Vera Fejes |
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| Directed by | András Dömötör |
“We're all so clogged with dead ideas
passed from generation to generation
that even the best of us don't know the way out
We invented the Revolution”
The full title of the play, that is written by the German Peter Weiss and was performed firstly in 1964, is The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade, abbreviated as Marat/Sade.
The play, which carries a number of Brechtian characteristics, is constructed to give a “play-within-a-play” experience and is a unique portrayal of the constant fight between social classes and human suffering. In his work, Weiss puts the question to the audience: where does the essence of the revolution lay? In altering society or altering ourselves?
Premiere: 16 October, 2014