The eggs can be hatched on the chair; the men are sitting on them in fidgeting way – it is one of the many playfully erotic refers.

The faint sunshine of the south sea and the mysticism of everything. Maurice Ravel’s music and Sándor Weöres’ one-line-long poem have a guest performance together with the eight actors. The viewers are greeted by Zoltán Balázs, as a host, he has dreamed the evening. The director has dreamed a polyphonic movement theatre from this one-line-long poem, it is easy but has its bet. The bet is the searching of me and the others.

The searching for rout is bordered by black chairs and pink flamingos, in the black emptiness these are almost the only one, which do not come from the humans (set: György Katus). The egg is the property, which appears from time to time, it rolls on the ground, it breaks on the actors’ body maybe, but according to some creation myth, we were born too from the egg. So it is connected to humans too. They press the egg into body folds, put between their lips, then similarly to the many cigarettes from the performance, they kiss it from mouth to mouth. They make the life circle between them. The eggs can be hatched on the chairs; the men are sitting on them in fidgeting way – it is one of the many playfully erotic refers. They can play with and on them the fight of the changing of chairs, by the finale of the Bolero: one of the actors lastly gets out of the line, then after a rush he will be the first one again. In the final scale of the pictures of the performance this kind of joyful fight for power melts into the darkness, so the eternal circulation is shown by the joke of the getting of chairs. Passionate playfulness, and playful passion characterise mostly the performance. The other decorating and dividing element of the area is the crowd of flamingos, for which we do not need to find clever reason. The pink birds are flexible in Ravel-like way on their own and they are lush, and by the way they are laying eggs themselves too. If we wanted to find the “meaning” of it anyway: according to astrology the flamingo is Venus’ “pet”, so it belongs to love. From this point of view it worth comparing with the other structural element of the area, with the chair. It moves the world from its corners, so it is a kind of counterpoint of the fixed situations. As the bird for the nest, as the earlier one flies out of the later one. These are female and male symbols.

The location of the play, in its easiness, is similar to a ballet hall, or at least to a play of meeting, it is strengthened by the bare foot elegancy of the performers too. As during the one and half hour long period of the Egg(s)Hell the bare foot are together with the elegancy. The social event comes together with posing and chasing of the opposite sex. To sum it up: everybody shows his/her more beautiful face to the micro world of the party. The eight actors of the Egg(s)Hell (Éva Bakos, Hermina Fátyol, Kamilla Fátyol, Katalin Simkó, Zoltán Lendváczky, Ákos Orosz, Zsolt Páll and Ádám Tompa) on their own and in couples tell many different kinds of tales during the evening – for example about the rules of the universe – the most important thing is that what and how they show to the others. The performance holds mirror to the desires, which really move the universe, besides the wise philosophy. It is a curved one. Those many passage between the chairs can show that wondering, through which the actors can get to the human desires from the earlier restrictions. It is an effective picture, when the girls’ combed hair is changed by the shaggy nests, and the tricky, artificial make-up melts from them. There are scenes, which make us remember good old postcards (we can say instead: musical postcard, as the silence is connected to Ravel’s music), which have been sent by the sea to the addressee, whose name is “viewer”. They paint on this picture with the colours of the seaside: with blue and green, with ochre and salmon-colour female dresses (costumes by János Breckl). From the middle of the place the characters with opposite sex are pulling out for a long time those, who are sticking stubbornly to the ground, and mermaid like women and men, but they always push themselves back teasingly. Altogether: there are many sticking and sliding in the performance. The already mentioned doubled nature is characteristic to the movements too: they are floating on the wall or tiptoeing on the others’ shoulders, they throw themselves into careful arms in the deep, then from their place they fall into the ground. The owners of the hands have many different faces: powerful men, cool, flexible boy, vibrating, interested youngster, who all catch either the girl, who desires femininity and male sent or gracefully sinful vamps.

The performance, with the already mentioned, endless closure, becomes endless, it can be continued anytime. It is a grabbed moment from the (over)flowing of life, without a storyline, which can be told, only with moods and their poetic pictures. There are corner stones in the dramaturgy, but the empty places between them are filled with improvisation, which if it is needed the director himself instructs during the performance. The performance is not characterised by eventuality. In spite of the improvisation there are hardly any fake movements, but it is true, that because of the returning repetition can become monotonous. There are many eggs on the stage, but there is not any rotten one between them.

Glória Halász, Színház, 2009

(translated by: Veronika Fülöp)