| Thursday, 30th June 2011 | 21.30 / The Youth Theatre, Grand Stage |

Waiting for Godot
A tight unity of speech and movement gives rise to that coherent language, the clear enunciation of which is the task of the artist, and to the search for which Csaba Horváth and the Forte Company have committed themselves.
According to Beckett’s esthetic self-definition, ‘there is nothing to express, nothing with which or by which to express, no power to express exists, no desire to express, only the obligation to express’; he dreamt of an art which did not ‘rebel against its own sublime lack of meaning’.
The choreographer/director and his company try to present the special relationship of Beckett’s world to death, silence and music through spoken language and visual representation. The important element of the performance is the resourceless body and its relation to mortality.
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The Forte Company
Forte is a young company founded by director and choreographer Csaba Horváth in 2005. The group of actors and dancers is experimenting with a so far unknown form of expression in Hungary. Their aim is to create a new, homogenous language with the help of bodies, voices, dance, music and text. The genre of ‘physical theatre’, thus redefined, tries to think in a different way about storytelling, situation, scene-building, stage time, performance space, dramaturgy. It calls forth a particularly exciting and original method of acting.
Besides dance, other art forms acquire a significant role within the company’s performances. Their collaborators include internationally acknowledged scenographer Csaba Antal, and composer Nils Petter, both taking an active role in the creative process, or Nigel Charnock, the founder of DV8, in their recent cooperation entitled Revolution (opened in February 2011).
Though Forte is a relatively young company their work has already achieved significant success judged by the reactions of audiences and professionals. Their performance, Kalevala, appeared in the program of the festival in 2008 organised by the Union des Théâtres de l’Europe.

‘They play and wait. They play a game while waiting. More precisely: waiting is a game to them. Thus we gradually get the feeling that they’re more excited by the roundness of the ball than they would be by Godot himself. Vladimir always spins the football on his index finger when he reminds Estragon of Godot’s arrival, and he almost dismissively answers: right. Right – and they keep on kicking the leather around. Time runs on relentlessly as the galactic football called Earth spins swiftly around its axis.
Waiting for Godot is a game. Waiting for Godot is a terribly exciting pastime. In light of this, the spectator isn’t too keen on the thought of what would happen if… if Godot were, after all, to arrive.’ Csaba Králl (revizoronline.com)