Ellenfény, 2006 (11. évfolyam, 1-9. szám)

2006 / 1. szám

itteniem Volume 11. Nr. 56. 2OO6/I. Circles of the Existence In the first section we focus on two choreographers who opted for classical composers of the XX. century to produce their performances. Tamás Juronics, the Artistic Director of the Szeged Contemporary Dance Company chose Béla Bartók’s compositions. For his own company juronics choreographed one of Bartók’s the dance suites, and he directed Duke Blue-beard’s Castle at the Szeged National Theatre. The performance conceived by juronics merged the symbolist art and the contemporary, post-modern art in a coherent dialogue. Csaba Horváth, Artistic Director of the Central European Dance Theatre reaches to a very similar outcome dealing with Shostakovich’s music, who was one of the most outstanding and ambiguous character of the Soviet-Russian classical music in the XX. century. Horváth reveals not only Shostakovich’s music but also his personality and those paradoxical historical-political circumstances (of the Stalin Era) in which the composer had lived and worked. In our second section we concern ourselves with Krisztián Gergye, who has become one of the emblematic characters of the Hungarian contemporary dance. His art has its roots in the traditional Java dance (being trained partly in Hungary and also in Indonesia during his scholarships), but he completely re-created this tradition from his own contemporary point of view and as a result he produced an ingenious, particular language of his dance. We also offer a closer look on Péter Kárpáti’s plays. Recently his writings have been exclusively preoccupied with traditions and customs: the Hasid Jewish legendary, the magic world of the Arabian Nights, dime novels of the early 1900^, the folkloric legends of a Romani story-teller from the middle of the last century. >From all these diverse legendary worlds Kárpáti has created his own poetic universe, that leads to a renewal of the dramatic genre itself. Eszter Novák has recently put on stage the last two of these plays (The First Night or the Last Night, The Fourth's Cate) in a perfect harmony with their inner world. In our critical review section we deal with an other performance directed by Eszter Novák (Just Because... at The Honvéd Chamber Theatre, Budapest), which is build on the actors’ improvisations. The improvisation as method is also used in the performance directed by the Italian Paolo Magelli, entitled Adieu Europe, Europe Adieu. On the touring performance Uncle Vania directed by Lev Dogyin we publish Balázs Simon’s review. Circles of the Existence IN FOCUS: Displaying the music Kata Demcsák: Origins and meetings ...............................................4 Béla Bartók: Duke Blue-beard’s Castle - Szeged National Theatre; Béla Bartók: Dance Suite - Szeged Contemporary Dance Company Márta Péter: Lying gently into the grave ..........................................8 Forte (Hymn) - Central European Dance Theatre; Fortedanse - Csaba Horváth Company SPOTLICHT: Krisztián Gergye Tamás Fiaiász: A diligent dreamer.....................................................14 A portrait of Krisztián Gergye BLOW-UP: Péter Kárpáti’s plays István Sándor L.: Tale-telling your whole life ................................20 Péter Kárpáti: The Fourth Gate -Jászai Mari Theatre, Tatabánya, Móricz Zsigmond Theatre, Nyíregyháza; Péter Kárpáti: The First Night or the Last Night - Jászai Mari Theatre, Tatabánya and Örkény Theatre Backlight Zoltán Kondoros/': Not only a game ................................................27 Just Because... - The Honvéd Chamber Theatre Péter Jónás: Psycho-horror and poetry ...........................................29 Ödön von Horváth: At the Nice View; Adieu Europe, Europe Adieu - Miskolc National Theatre Balázs Urbán: Chaos and guillotine..................................................31 Georg Büchner: Danton’s Death - Csiky Gergely Theatre, Kaposvár Annamária Szoboszlai: Spiritual dance theatre..............................33 Expecters - Bartók Dance Theatre, Dunaújváros Licht signals László Rókás: Associated ...................................................................36 Pierre Rigai: Erection Katalin Kimlei: Intimacy in the synagogue ....................................39 Ivo Dimcsev Balázs Simon: Existence with no consequences ............................43 Uncle Vania - Maly Teatr Flashes ....deep silence sways...” - Soltis Theatre (Lívia Ölbei).................47 Gedeon Dienes (1914 - 2005) ...........................................................48

Next