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augusztus 23.

The Champion

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


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


19 March, 2016

75 minutes, with no interval


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április 7.

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.


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


9 October, 2015

Length of the production
1 hour 45 minutes, with no interval

augusztus 21.


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




Set and costume design                                Eszter Kálmán
Choreography            Máté Hegymegi
Composers                                      Árpád Kákonyi
Tamás Matkó
Dramaturg                               Enikő Perczel
Dramaturg consultant Annamária Radnai
Assistant                                  Vera Fejes



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



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