Translated by Grácia Kerényi
The Poles, at least the Polish playwrights (Mickiewicz, Slowacki, Wyspiański, Witkiewicz, Gombrowicz...), are very Polish (rooted in Polish history, in life) and at the same time universal, that is, open to the world. And they form a spherical structure with each other, just as the genre of The Water Hen is a spherical tragedy, i.e. spherical, self-enclosed, and perfect, intangible, smooth and sliding off it, and representing the whole world: globe, sky...
The Water Hen is expressive, surreal, absurd in later terms, while being utterly ordinary. Light and witty, it pulls down to earth thoughts thought to be profound. They accept with very little wonder the most absurd things from a realist point of view. It is mischievous and sad. Generational conflict, family, the meaning of life, love, death, loneliness, money, revolution - the whole world is in it, like a sphere. But not in a serious way, and this puts the clichés and clichéd phrases of life in a different light, in a different refraction. It's horrible, but there's no point in taking it seriously. Life, I mean. He's a painter and a photographer. He's a child who comes out of nowhere, who dreams and paints and sometimes wakes up. But an ordinary child who longs for a father, a mother, a grandfather, and doesn't care if he's a blood relative, if only because we don't even know if he is.
Sándor Zsótér
There are strong sound effects in the performance.
The performance is part of the Budapest Spring Festival, in collaboration with Budapest Brand.
