Based on Il tabarro and other Puccini’s operas
Music: Antal Kéménczy
Judit Rezes, Ervin Nagy, Adél Jordán, Zoltán Bezerédi, Anna Pálmai, Ferenc Elek, Zoltán Rajkai
|Director of chorus||Gizi Bagó, Bea Berecz|
|Piano||Antal Kéménczy, Balázs Futó|
|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."
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.
|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|
|A Stranger, with camera||Péter Haumann|
|A Villager||János Bán|
|Offender I.||Zsolt Dér|
|Offender II.||Endre Papp|
|Set design||Balázs Czieger|
|Directed by||Gábor Máté|
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
|Marquis de Sade||Ernő Fekete|
|Jean Paul Marat||Lehel Kovács|
|Simonne Evrard||Péter Takátsy|
|Charlotte Corday||Hanna Pálos|
|Jacques Roux||Béla Mészáros|
|Mail nurse||László Szacsvay|
|Set and costume design||Eszter Kálmán|
|Dramaturg consultant||Annamária Radnai|
|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