We held two premieres at the end of the year.

The first, on 15 December, was the premiere of Autumn in Peking at Kamra, based on the texts of Boris Vian and Kornél Laboda. Directed by Balázs Benő Fehér.

"I can work on the most complex novel of one of my favorite writers with one of my favorite theater troups. These people are obsessionists. I mean the characters of the novel. Something pushes them towards devastation. Love, sex, repressed desires, the hatred of their profession, the love for their hobby, and to map something, the oppress someone, getting wasted next to someone, airplane models. Just not what we have. Just not the way it should be. 

Neither Vian did that nor that way. Freely. With absurd humor. Fondly the grim. Primarily entertains himself while writing. He plays. With words, situations, the form, the structure. Every character is a little bit a parody of itself, the situations are superheated variants of their real relatives. Enlarges, exaggerates, scalds, freezes, shakes, kneads and molds. Don't take anything seriously from what you're going to see. We will. It is so stupid to build trains in the middle of a desert. To fall in love with the girlfriend of my best friend. To be a hermit. The work that could be done by a machine. Or the work that couldn't be done by one. To kill a biker. Not to cure a chair. Am I asking?"
(Balázs Benő Fehér)

Cast: Ferenc Elek, Gergely Kocsis, Boglárka Koós as guest, Vivien Rujder, Péter Takátsy, Bence Tasnádi, Vilmos Vajda, Dávid Vizi, Kristóf Biró university student, András Molnár university student

 

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After that, on 16 December, we presented Extasy at Katona, written by Jakab Tarnóczi and Zsófia Varga, directed by Jakab Tarnóczi.

”Our play Extasy invites the spectator to a discovery. It invites to a constructed mini universe; to an alternative Budapest labyrinth condensed on stage. The multimedia event - running on several storylines and timelines - follows the everyday life of a group of young people, who are looking for the answer to this simple question: how is it possible to be well or at least better. The peculiar world of Extasy agglomerates by using the form language of music, dance, theater and film. Every spectator can put together their own narrative from the dialoges and the scenes by poring over this world. 

Is the state of happiness sustainable? If yes, does the community or the individual have a bigger part in it? How does generations Y and Z see the future of Hungary? Is it possible to quit the whirl of periodic problems or only an artifically made sanctuary could help inside the societal system?

extasy (greek. eksztaszisz, 'exit', lat. exstasis), fascination, rapture, trans, 'rüttetés, elrüttetés' in old Hungarian language (flying): in general, state of delirium, in which a thing of natural or supranatural (divine or demonic) origins weakens or suspends the relation to the material world by affecting the senses and consciousness." (Jakab Tarnóczi)

Cast: Barna Bányai Kelemen, Bence Béres, István Dankó, Bernát Gloviczki, Balázs Jakab, Adél Jordán, Kata Kanyó, Benjámin Lengyel, Júlia Mentes, Hanna Pálos, Dániel Pásztor, Zsófia Tóth

 

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