Cast:Márta Béres, Andrea Erdély, Árpád Mészáros and Imre Elek Mikes
Movement: Henrietta Varga
Music: Szilárd Mezei
Visuality (set and costume design): Tünde Varga
Technical assistance: Attila Uri
Dramaturge and director: András Urbán
Retro-political review – theatre of physicum
After the Buckower Elegies by Berthold Brecht
The play has been realised within the international project of ‘BIPOLAR’.
Main sponsor: BIPOLAR – German-Hungarian cultural projects
Partners in co-production:
ACUD Theater – Berlin, MASZK – Szeged
The duration of the play is 60 minutes.
The law of contradiction inherent in objects and phenomena, or the law of a unity of opposites, is the basic law of nature and society, and therefore the basic law of cognition. It stands in direct opposition to a metaphysical worldview. Its discovery caused a great revolution in the history of cognition. From the point of view of materialism contradiction lies in the core of all the processes occurring in objective phenomena and subjective thinking. Contradiction permeates each and every process from the beginning to the end – that is where the universal and absolute character of contradiction lies. Contradictory phenomena and each side of one contradiction have their own distinctive features – that is where particularity and relativity of contradiction lies.
In the evening in a state of panic I searched for the scent of sperm in bottles behind the fruit market, to no avail.
When we study the universal character of contradiction and the struggle of opposites, one should take into consideration the difference between various forms of the struggle of opposites – if not, the mistakes will be unavoidable.
Without serious illness and hate. Enough work.
I have got my share of young potatoes, cucumbers, asparagus and strawberries.
I have seen lilacs in Buckower, the market in Bruges, the channels of Amsterdam, Parisian markets. I have enjoyed the kindness of A.T. I have read the poems by Voltaire and Mao’s article on contradiction.
I have directed the Chalk Circle in the Schiffbauerdamm.
From the text of the play Brecht –The Hardcore Machine
It’s transparency of unpredictable intensity and appearance of violence, humbleness, humiliation, shame, the beautiful and horrible, naive and devastating, fine and coarse. The cast is excellent, each one of them a master of their own bodies, which function like some kind of an expensive theatrical instrument. (…) All features of András Urbán’s work on stage. Neither density nor dept changed, or intensity. Something has changed nevertheless. This present play is easier to digest, watch (I am afraid to say more fun) than the average has been so far, but without forcing the director-theatre manager to make compromises.
Ivan Hontalan, www.terasz.hu
András Urbán’s production seems as if it had been done in Berlin, the stage discursion of Brechtian motifs suggests Wilhelm Reich from the 1930’s, yet it was not born there but in a dimmed, apocryphal, fantastic, diabolical world of Vojvodina. As it turned out one Hungarian from the Balkans has something to say to the world, but for that he has to be completely and utterly a Hungarian from the Balkans.
Laszlo Vegel, lvegel.extra.hu
Decoration is minimal, as it is unnecessary. It has been substituted by human body. But, what can a man do with this surface if the soul is restricted? What happens when the soul wants something other than what it has to?
Attila Sirbik, Magyar Szó
Remarkable acting, the whole staff breaths as one; constant concentration while permanent presence is the primary task, whose fulfilment renders the convincingness to the substance, transforming the entire production into a nightmare, becoming an experience of catharsis.
Arnold Terek, Magyar Szó
One gets carried away by the richness of directing ideas and tightness of form. The Hungarian actors import into the discursion a kind of historical originality.
Tom Mustrof, Neues Deutschland