Normal people do not start leading a company
Zoltán Balázs, the founder and director of the now ten-year-old Maladype Theatre is characterized by the vivid look in his eyes, a fast pace of speech, expressive wordins as he talks about the successes of the company so far, its struggling present, its innovative plans and introduces us to the special world of undeservedly underfunded independent companies.
- In terms of operations, which companies can Maladype be grouped into?
- With those that actually exist as a company like Maladype, they operate as a permanent theater and can provide their actors regular payment and continuous professional development.
- As an independent theater you have been categorized within the meaning of the Performing Arts Act, VI., because you are an independent theater that has been in operation for more than two years and cannot be categorized in the other five categories. How much public support did you receive compared to the rest of the category?
- Unfortunately, it is not clear within the theatrical sphere exactly what conditions an independent theatrical operation with a permanent company must meet. It is no coincidence that there are nearly 150 registered organizations in Category VI, but no one knows what they really are and who they are. No one can list 150 registered and truly operating companies because there are none! A total of approx. there are ten theaters that are active thematically, systematically, developing and maintaining their own repertoire and providing regular monthly salaries to their members. As a registered organization, we were heavily supported with 28 million last year, and only 22 million this year, 36% of which have been blocked forever.
- Why did Maladype get less money this year?
- Good question! I can't explain it - unless there is a personal dislike in the background - because with our operation so far we have not only fulfilled what we described and undertook in our previous year's tender, but also proved it. We have our own performing venue, the Maladype Base (Mikszáth tér 2.), we have become regular guests at international festivals, we have premiered two new performances (Platonov, The marriage of Figaro) and we have established the Free Academy. We have been in a very difficult position with the reduction in subsidies, and I believe that those who have not carried out the selection between companies in good time and to a large extent can do a great deal; the board of trustees, which could not or did not dare to make a responsible decision, which did not undertake to place a maximum of ten independent companies in a prominent position on the theater palette. It seems that what matters to decision-makers is who has what in the past, how much scope they have professionally at home and abroad, and what concrete and viable plans they have for the future. I also consider the ten years behind us to be a great achievement because, in this inability to regulate, Maladype has not only been able to survive but even develop.
- How can you bring your current standards and keep improving when you live day by day?
- Our theater has two strong pillars, actors and spectators. Their relationship drives our performances. Spectators who watch our performances not only at home but also abroad, and possibly attend the Free Academy, will soon get in close and personal contact with us. It is a kind of unspoken contract between Maladype artists and the citizens of society. Due to this, our responsibility to each other is also increasing. We try to move forward and evolve year after year so that the spectator can accompany us on this journey as well. Thus, the common language "grows old" with us. However, this language cannot be created afterwards, but can only be created there, together, minute by minute.
- Based on what has been said, it can be assumed that a theater, which, thanks to secure subsidies, is guaranteed to keep it running, does not seek to keep in touch with the audience. Is that really so?
- Yes, because it’s not in their interest to get in closer contact with their audience. It is a tiring and time consuming process. The relationship between actors and spectators can be significantly changed if we are patient, consistent, and demanding of each other. In recent decades, thanks to Hungarian theatrical conventions, the spectator has accepted that he can only be an “observer” of a performance and in the dark, he can discreetly watch the actor on the stage. It is due to this (also) that the theater has become an aquarium over time. The auditorium can explode, and the actor continues to play the same as if nothing had happened. That’s why I think it’s important that the presence of the spectator influences the actors and impinges on them. Of course, this should be also true the other way around.
- With a little exaggeration, can spectators be divided into two groups: those who take on the role of passive observer and those who want to become part of the creative process?
- With great exaggeration... We were also approached by spectators who had never seen a Maladype performance before and did not know what kind of Leonce and Lena they would see, but when they overcame the shock of the first ten minutes, they became a devoted, enthusiastic audience. Today, these spectators make up a significant portion of our core audience. There is no recipe for this.
- Where do you get the strength and inspiration to invent and pass it on as well new things to inspire others?
- From the world around me, my co-creators and myself. The changes that inspire me the most are prompting me to redefine everything I already think I know. I want others to do the same. I want to make clearer and bolder ‘offers’ to my partners so that we can put together a theater that we all want.
- What do you mean by that?
- I would like actors and spectators to use more precise concepts and more appropriate words when describing a shared experience. I want them not only to be able to talk about their feelings, impressions and opinions in a general and timid way, but also to be able to interpret, analyze and evaluate what they have seen, the events they have lived together.
- As a charismatic leader, you demand constant attention and improvement at all times and a constant 100% presence. How long can the actors withstand this pace and load? Aren't they in danger of burning out?
- I would consider it a dangerous thing not to work with people and artists who see constant concentration and constant redefinition as their personal beliefs and inner need. If the nervous system gets tired, it is followed by physical accidents. In Maladype, every performance from Leonce to Egg(s)Hell is very dangerous. In addition to 100% energy investment and work pace, we also need to use relaxation techniques. If the internal balance tilts a little, a huge accident can occur. The most important thing is not to be willers and not wanting to prove. We enjoy what we do and want to pass on the joy of thinking together and playing together.
- You have regular processing conversations within the company. You have to imagine this by dealing with everyone individually, you ask how they experienced that particular performance?
- Exactly. It is extremely important that we have to be aware of our own “temptations” and dare to act against them. We also encourage our spectators to do so at our performances, audience meetings and at the Free Academy. All of this is part of the inaugural theater program that began with the open rehearsals of King Ubu two years ago. We were the first in Hungary to create a performance by doing a rehearsal process with the audience from the reading rehearsal to the presentation. Of course, all this could only be done if the actors were prepared, enterprising, used their creative energy, did not spasm and the audience was also a good partner for the basic idea. I know that other theaters have since tried this method.
- In Maladype performances, you often encourage the audience to actively participate.
- This is not an alien phenomenon. Ancient Greek theaters were built so that the backs of the spectators could touch the knees behind them. Thus, the spread of the resonance of the stimulus from laughter or crying was felt by everyone. Why not apply it too? The problem with “peephole” theaters is that this deeper and more direct connection cannot be established between the spectator and the actor. The spectator longs for sensual game, not just cultural experience, spiritual excitement. If I, as a practicing theater director, can’t articulate these thoughts and discoveries to myself, then I have no right to ask anything from the actor. And if the actor can’t even articulate himself, he has no right to expect anything from the spectator either. Conversely, if the spectator can’t articulate why he liked or didn’t like a performance or a solution, he can’t hold the artist accountable for anything.
- Thinking and knowledge is a huge and irreplaceable tool on the part of both actors and spectators.
- That's right. If someone doesn’t think, we can do whatever we want with him - we’re not dangerous. On the other hand, if you think about it, you might ask about certain connections that are unpleasant for us and we have to answer - it’s dangerous.
- Can you feel its consequences in the case of financial support of independent theaters?
- Of course. Independence is dangerous because it cannot be grasped and limited, it has an opinion, it is independent and reflexive, it cannot be inserted anywhere.
Founded in 2002, the Maladype Theatre operates with a permanent company and co-creators. Maladype is an independent theater that sustains itself solely from tender funds. However, its “independence” is not only the essence of its organizational form, but also of its spirituality and ideas about theater. It is characterized by a special theatrical language and way of thinking. It relies mainly on concentrated workshop work, intense acting and continuous communication with the audience. Zoltán Balázs, director and artistic director leads the theater, of which eight permanent actors are members. They play 15-17 times a month.
Orsolya Szabó, Műhely, 2011
Translation by Zsuzsanna Juraszek
- In terms of operations, which companies can Maladype be grouped into?
- With those that actually exist as a company like Maladype, they operate as a permanent theater and can provide their actors regular payment and continuous professional development.
- As an independent theater you have been categorized within the meaning of the Performing Arts Act, VI., because you are an independent theater that has been in operation for more than two years and cannot be categorized in the other five categories. How much public support did you receive compared to the rest of the category?
- Unfortunately, it is not clear within the theatrical sphere exactly what conditions an independent theatrical operation with a permanent company must meet. It is no coincidence that there are nearly 150 registered organizations in Category VI, but no one knows what they really are and who they are. No one can list 150 registered and truly operating companies because there are none! A total of approx. there are ten theaters that are active thematically, systematically, developing and maintaining their own repertoire and providing regular monthly salaries to their members. As a registered organization, we were heavily supported with 28 million last year, and only 22 million this year, 36% of which have been blocked forever.
- Why did Maladype get less money this year?
- Good question! I can't explain it - unless there is a personal dislike in the background - because with our operation so far we have not only fulfilled what we described and undertook in our previous year's tender, but also proved it. We have our own performing venue, the Maladype Base (Mikszáth tér 2.), we have become regular guests at international festivals, we have premiered two new performances (Platonov, The marriage of Figaro) and we have established the Free Academy. We have been in a very difficult position with the reduction in subsidies, and I believe that those who have not carried out the selection between companies in good time and to a large extent can do a great deal; the board of trustees, which could not or did not dare to make a responsible decision, which did not undertake to place a maximum of ten independent companies in a prominent position on the theater palette. It seems that what matters to decision-makers is who has what in the past, how much scope they have professionally at home and abroad, and what concrete and viable plans they have for the future. I also consider the ten years behind us to be a great achievement because, in this inability to regulate, Maladype has not only been able to survive but even develop.
- How can you bring your current standards and keep improving when you live day by day?
- Our theater has two strong pillars, actors and spectators. Their relationship drives our performances. Spectators who watch our performances not only at home but also abroad, and possibly attend the Free Academy, will soon get in close and personal contact with us. It is a kind of unspoken contract between Maladype artists and the citizens of society. Due to this, our responsibility to each other is also increasing. We try to move forward and evolve year after year so that the spectator can accompany us on this journey as well. Thus, the common language "grows old" with us. However, this language cannot be created afterwards, but can only be created there, together, minute by minute.
- Based on what has been said, it can be assumed that a theater, which, thanks to secure subsidies, is guaranteed to keep it running, does not seek to keep in touch with the audience. Is that really so?
- Yes, because it’s not in their interest to get in closer contact with their audience. It is a tiring and time consuming process. The relationship between actors and spectators can be significantly changed if we are patient, consistent, and demanding of each other. In recent decades, thanks to Hungarian theatrical conventions, the spectator has accepted that he can only be an “observer” of a performance and in the dark, he can discreetly watch the actor on the stage. It is due to this (also) that the theater has become an aquarium over time. The auditorium can explode, and the actor continues to play the same as if nothing had happened. That’s why I think it’s important that the presence of the spectator influences the actors and impinges on them. Of course, this should be also true the other way around.
- With a little exaggeration, can spectators be divided into two groups: those who take on the role of passive observer and those who want to become part of the creative process?
- With great exaggeration... We were also approached by spectators who had never seen a Maladype performance before and did not know what kind of Leonce and Lena they would see, but when they overcame the shock of the first ten minutes, they became a devoted, enthusiastic audience. Today, these spectators make up a significant portion of our core audience. There is no recipe for this.
- Where do you get the strength and inspiration to invent and pass it on as well new things to inspire others?
- From the world around me, my co-creators and myself. The changes that inspire me the most are prompting me to redefine everything I already think I know. I want others to do the same. I want to make clearer and bolder ‘offers’ to my partners so that we can put together a theater that we all want.
- What do you mean by that?
- I would like actors and spectators to use more precise concepts and more appropriate words when describing a shared experience. I want them not only to be able to talk about their feelings, impressions and opinions in a general and timid way, but also to be able to interpret, analyze and evaluate what they have seen, the events they have lived together.
- As a charismatic leader, you demand constant attention and improvement at all times and a constant 100% presence. How long can the actors withstand this pace and load? Aren't they in danger of burning out?
- I would consider it a dangerous thing not to work with people and artists who see constant concentration and constant redefinition as their personal beliefs and inner need. If the nervous system gets tired, it is followed by physical accidents. In Maladype, every performance from Leonce to Egg(s)Hell is very dangerous. In addition to 100% energy investment and work pace, we also need to use relaxation techniques. If the internal balance tilts a little, a huge accident can occur. The most important thing is not to be willers and not wanting to prove. We enjoy what we do and want to pass on the joy of thinking together and playing together.
- You have regular processing conversations within the company. You have to imagine this by dealing with everyone individually, you ask how they experienced that particular performance?
- Exactly. It is extremely important that we have to be aware of our own “temptations” and dare to act against them. We also encourage our spectators to do so at our performances, audience meetings and at the Free Academy. All of this is part of the inaugural theater program that began with the open rehearsals of King Ubu two years ago. We were the first in Hungary to create a performance by doing a rehearsal process with the audience from the reading rehearsal to the presentation. Of course, all this could only be done if the actors were prepared, enterprising, used their creative energy, did not spasm and the audience was also a good partner for the basic idea. I know that other theaters have since tried this method.
- In Maladype performances, you often encourage the audience to actively participate.
- This is not an alien phenomenon. Ancient Greek theaters were built so that the backs of the spectators could touch the knees behind them. Thus, the spread of the resonance of the stimulus from laughter or crying was felt by everyone. Why not apply it too? The problem with “peephole” theaters is that this deeper and more direct connection cannot be established between the spectator and the actor. The spectator longs for sensual game, not just cultural experience, spiritual excitement. If I, as a practicing theater director, can’t articulate these thoughts and discoveries to myself, then I have no right to ask anything from the actor. And if the actor can’t even articulate himself, he has no right to expect anything from the spectator either. Conversely, if the spectator can’t articulate why he liked or didn’t like a performance or a solution, he can’t hold the artist accountable for anything.
- Thinking and knowledge is a huge and irreplaceable tool on the part of both actors and spectators.
- That's right. If someone doesn’t think, we can do whatever we want with him - we’re not dangerous. On the other hand, if you think about it, you might ask about certain connections that are unpleasant for us and we have to answer - it’s dangerous.
- Can you feel its consequences in the case of financial support of independent theaters?
- Of course. Independence is dangerous because it cannot be grasped and limited, it has an opinion, it is independent and reflexive, it cannot be inserted anywhere.
Founded in 2002, the Maladype Theatre operates with a permanent company and co-creators. Maladype is an independent theater that sustains itself solely from tender funds. However, its “independence” is not only the essence of its organizational form, but also of its spirituality and ideas about theater. It is characterized by a special theatrical language and way of thinking. It relies mainly on concentrated workshop work, intense acting and continuous communication with the audience. Zoltán Balázs, director and artistic director leads the theater, of which eight permanent actors are members. They play 15-17 times a month.
Orsolya Szabó, Műhely, 2011
Translation by Zsuzsanna Juraszek