Summary |
From Athens To London
Everybody Struggles With The Exposition
Young Hungarian Playwrights in Berlin
Tibor Solténszky the President of the Federation, a dramaturg
and trainer himself, spent a week in Berlin this May as a tutor
at the Festival of Young European Playwrights. The festival is
an Australian initiative to fight against the dominance of
European plays on their stages, to promote young Australian
playwrights. But the initiative quickly spread around the
world: every second year there is a world festival in Australia,
in the interim years there are continental festivals in Africa
and Europe. Germany facilitated the European festival second
time. The first such meeting was two years ago in Frankfurt,
this one was held parallel with the 19th Youth Theatre Festival
of Germany.
Thirty-five young playwrights from fourteen different
European countries met at the festival where they had a
chance to read plays of the others, have a group discussion on
their play and one-to-one chats with different tutors, drama
experts. In the international body of tutors you can find Carl
Miller from the Royal Court Theatre, London, Nirav Christoph
playwright and professor of writing from Amsterdam and
Alina Nelega Cadariu who organised the first Rumanian con-temporary
play festival.
Three young Hungarian playwrights: Vera Filó, Anna
Haraszti and Sándor Lajos who were the Hungarian partici-pants
in the festival have a conversation after returning home
with Tibor Solténszky and Judit Cziráki, who is the Interplay
contact person for Hungary.
The basic question is if the young playwrights got some-thing
useful to bring home. Each of the three young Hungari-an
ones think it was useful. Sándor Lajos felt it was good to
see that from Athens to London young playwrights struggle
with the same problems. Anna Haraszti also shares a similar
experience: she is one who writes in English and she met
other writers who use another language but their mother
tongue. Vera Filó got similar reactions to her play she had
received at home, so she feels she has to write a more „con-sumable“
way.
The conversation touches the delicate issues if playwriting
can be taught at all, and if the existing terminology to speak
about plays is sufficient enough to describe new intentions,
new structures.
One of the most important outcomes of a festival is if the
plays begin to travel. Vera Filó’s play arouse the curiosity of
the Greek tutor who might stage it in Athens some time and a
Polish play might be first produced in Hungary. And of course,
many lasting friendships and professional contacts were made
in Berlin. The Polish delegation announced that the next Euro-pean
festival in year 2000 will be held in Poland.
Where Is The Arvisura?
An interview with István Somogyi
Arvisura means True Word. This is a name internationally
known for a Hungarian amateur-alternative theatre which up
to recently was based in Szkéné Theatre. This spring István
Somogyi, the founder of the company left the Szkéné with
some young members of the group and started to work in
Pinceszínház (Basement Theatre). He is asked by Szilárd Zala
about what happened and what will happen.
First István Somogyi tells the story how his young compa-ny
called Study Group became Arvisura, how he found the
name, more precisely, how the name found him. This word is
the title of a huge manuscript written by Zoltán Pál, who
became shaman during the World War II. He regularly fell
into trance and then put down what he was „dictated“ during
the trance. From these fragments we can read the story of the
Hungarians and their relatives in the past six thousand years.
István Somogyi was given some chapters of the script - at the
time they were rehearsing Master and Margarita - to try and
do something with it. He realised that this name was meant to
express what they thought about their work.
He left the majority of his actors because he wanted to
declare he wants to do spiritual theatre. It requires a different
attitude from the actors, an understanding, devotion that the
„old“ members did not want to take. It became clear when
they started to talk about the plans of the new performance
titled Madách. The spiritual actor is described by István Somo-gyi
as a priest who goes into his church every evening and
celebrates a mass even if nobody else is there.
He invited professional actors, too, to make the new per-formance.
He is open to other types of working methods, that
is why he is looking forward to work in the National Theatre
this spring.
As to the future, he is convinced that he has got a spe-cial
task to work on the underworld. For that purpose the
Basement Theatre - despite of its inconveniences - is the
proper place. He got plans with Macbeth, a play that is so
connected to that world of instincts. There is a problem with
the actors, too, they do not know anything about what is
under the waist, acting usually involves the face, the mind,
speech, hands. Nothing under or behind. So he has his task
for the future.
The Seventh Penny Is
Always Missing
The Térszínház was recently awarded by the Cultural Com-mittee
of the Budapest Municipality as the Best Alternative
Theatre of the year. On this occasion one of the big daily
papers published an interview with Hunor Bucz, the
founder and artistic director of the group since the 60s. We
publish the article with the courtesy of the journalist, László
Szále.
Hunor Bucz answers the question why they are „alter-native“
with a joke: „Alternative theatre is the one which
can survive without money.“ Another question about the
differences of the early years and the last decade reveals
some similarities of the „soft dictatorship“ of the late com-munist
era and today’s dictatorship of money. No doubt,
this freedom is much better to live in, but if one can not
survive, either for political reasons or financial ones, it
makes almost no difference.
The company often plays at special locations: in churches,
church yards, streets, gardens, among castle ruins. At Advent
they visit famous persons, great contemporary writers like
Péter Esterházy, Miklós Mészöly, Sándor Weöres to create
special atmosphere, to make the holiday holy days. One of
their most successful play „The Boatman From The Moon“
has travelled 20.000 km and been seen by 30.000 specta-tors.
Their favourite is a Christmas mystery play already per-formed
150 times, which they intend to play at least once a
year at Christmas even if the company would cease.
Bucz never wanted to part of system, neither of the
political dictatorship of the past nor the dictatorship of the
present simplicity. But, as he says: „I do as long as I am
able to.“
FESTIVALS OF THE SPRING SEASON
We Need Music
Subjective notes on the festival
of musical theatres
Zsuzsanna Tóth attended the three day festival named
Scherzo which was again organised in Békéscsaba. She can
see the developments in this comparatively new genre in
amateur theatre - the first such festival was organised
three years ago, and now, the big number of applicants had
to be pre-selected. This had a positive effect on the overall
level of the presentations, most of the presentations met
the basic performance standards.
The author gives a detailed description of what she saw
at the festival, shortly comments on each performing com-pany.
The wide spectrum of amateur musical theatre
includes full length popular plays like the Jungle Book of
PS Rolling Theatre of Miskolc and even experimental pro-ductions
like that of ADY-ÁK from Debrecen. She saw good
choreography, quality team work - like in the Pizza Courier
of the Acting Studio of Csaba -, groups with long history
and newly formed ones, and of course, many high quality
solo performances. She names some promising young
actors and singers who deserve to be seen later on.
She is convinced that it is not enough to sing or dance
well, the quality of acting is the most important in musical
performances, too. This is the area where most of the
groups have to improve their work. Musical theatre is the
most difficult job one can take, because it is the most com-plex
one, it needs training, learning, rehearsing - but that
is where its beauty is.
She is looking forward to attend the next festivals and
asks the reader to cheer for and support the future devel-opment
of the amateur musical theatre in Hungary.
Report on Csurgó
The national final of student theatres’ competition
This year nineteen of more than a hundred applicant got to
Csurgó, this small town close to the Croatian border, where it
was the 16th final of student theatres. The jury: two young
professional directors and a very popular actor conducted the
discussions after each show even in the nights. The author
gives us a detailed list of all the productions and the prizes
and awards of the festival. He appreciates the group work
while does not forget about individual performance when
shortly analyses each production. He misses the university
theatres from the festival, there was only one from Veszprém.
The two winners of the main prizes, the Vicious Circle from
Kistarcsa and the VMG from Budapest will perform at the Kaz-incbarcika
festival in July.
Children played at Tatabánya
The 7th festival of children’s amateur theatre was organ-ised
in Tatabánya this year. The town and its theatre hosted
this festival the second time. Through a series of local and
regional festivals, from among more than a hundred appli-cants,
19 groups arrived at this year’s final, almost half of
them took part in it second time, some seem to be constant
participants.
The professional background organisation and technical
assistance resulted in an free and joyful atmosphere. The pro-ductions
reflected the all year round work of the children and
their teachers. Both articles in this volume appreciate the out-standing
performance of the students from Pápa, Western
Hungary who did a shortened version of The Tempest of
Shakespeare. Exciting images, good space, good timing -excellent
team work. Maybe the nicest and most joyful show
was that of the children group Drops from Balassagyarmat
titled Shrieks. Another outstanding moment of the festival
was the performance of Alföld Children’s Theatre with their
satirical fairy tale. Long lasting experience will be what the
Pemzli Stage did in the closing performance in the open air.
Though it is the final of a nation wide competition, this
festival is not a competition, it is about sharing, being togeth-
er. Besides the festival programme there were different enter-taining
and educational programmes for the children. Out-standing
group performances and directors were awarded.
But what is OM?
Odyssey of the Mind European Festival
21-26. April, The Netherlands
The Odyssey of the Mind was founded by Ed. D. Samuel
Micklus, professor of design at the Glassboro University in
1978. His aim was to help developing the creativity of
young people.
It became popular very soon and spread all over the
world. The winners of the national competitions take part in
the world final in the USA, the national seconds and some
invited teams take part in a European Festival.
Hungary has been a successful participant to OM for the
past six years. Five Hungarian groups (3 from Debrecen, 2
from Budapest) took part in the festival this April. Unfortu-nately
university students have not yet represented Hungary.
The OM is a competition based on very strict regulations,
while expecting initiative of the participants. The programme
tries to explore the possibilities of the individuals. It is com-posed
of different types of tasks, strategic problem identifica-tion,
spontaneous problem solving, mixed group work.
One of the most important aims of OM is the promotion of
the international inter personal co-operation, respecting each
other.
Those who are interested in the future participation will
find the address of the national centre in this volume.
Without Score
Amateur theatre in Keszthely
László Bérczes was member of the jury in the theatre catego-ry
at Helikon Festival the end of April. (The Helikon Festival is
a biannual student cultural festival a Western Hungary.)
Besides reporting on some interesting performances he
saw, he shares with us his great dilemma. One evening he
happened to walk past a church crowded with people. He
went in - it was the competition of choirs in there. And sud-denly
he felt he got the answer on his most serious scruples of
the two days. He heard that one choir was better than the
other. Each of them trained, punctual, concentrated. Not a
bunch of youngsters who came together some days ago want-ing
to participate and hustily learned some songs. It would be
impossible because of the score - and the teacher. You can not
pretend you can read the score...
There are, of course, differences among them. But that is
above the level of being able to sing what is in the score.
This is what he did not find (or seldom found) among the
amateur theatres. They have the courage to go up the stage
and say something. The symptom reminds him of the case of
the football - each Hungarian claims to be an expert of it...
As a positive thinking teacher he could be happy to see so
many young people wanting to do theatre (42 theatre groups
took part in the festival). But... It is more difficult to sing with-out
scores. Maybe it is not worth trying it.
Memories Of Two Masters
On the death of György Uray
and Erzsébet Gál
Ildikó Lőkös, dramaturg and drama teacher remembers the
two outstanding figure of the Hungarian amateur-alternative
theatre, both passed recently.
She remembers the first occasion she met György Uray
some twenty years ago when he launched training for teach-ers
who wanted to make theatre with children. From this
workshop a strong group grew out that became the famous
Gödöllő Studio, lead by Erzsébet Gál. Both of them were
excellent teachers, sensitive artist, great leaders.
András László Nagy also remembers György Uray, who
was not only a great leader of his local theatre for more than
thirty years, but became of national importance as the found-ing
president of the Association of Free Theatres in 1995. As
such he did an enormous work to co-ordinate the adult ama-teur
theatre in Hungary, helped the revival of village the-atres,
organised the festivals of acting schools. We keep his
memory worthily if we continue what he began.
Scuola elementare del teatro
Tadeusz Kantor
Kantor, one of the greatest authentic theatre makers of
this century, lead a course in Italy, at the Paolo Grassi Theatre
Academy of Milan, for the third year students to give an
overview on the most important trends of the avantgardism.
The text of these lecture were then published in 1987 in Ital-ian
by the Ubulibri Publishing Co. They are translated into
Hungarian by Imre Katona.
In this volume we publish the last lesson of the series, in
which Kantor poetically speaks about the twentieth century,
about arts, about man, his soul and imagination.
We quote here the last paragraph:
„THE SOULD IS NOT COMPATIBILE WITH THE MATERIAL
REALITY.
IT CAN ONLY TOUCH IT.
IT FORMS AN INDEPENDENT, CLOSED WORLD AS AN
INTUITION OF ANOTHER ONE.
IT IS THE SOUL THAT LIBERATES WHAT WE CALL IMAGI-NATION.
IT IS THE SOUL THAT CREATED THE GODS
AND THE ANGELS
THE HEAVEN AND HELL
THE FEARS...
And now I enter the small chamber of my imagination
and say:
IT IS THE SOUL THAT CAN CRERATE AND REVEAL THE REAL-ITY
SO THAT WE FEEL WE SEE IT FOR THE FIRST TIME.
And that’s it, nothing more.
My last advice:
„remember everything and forget about everything...“