Our greatest accomplices have always been the audience!
Zoltán Balázs—actor, director, and artistic leader of the Maladype Theatre—is among the fortunate artists who, even during the pandemic, have been able to continue creating despite the forced closures and intermittent reopenings of theatres. In parallel with public-health restrictions, the Jászai Mari Prize-winning director has been preparing two major stage productions to be premiered once theatres reopen. With the artists of Maladype Theatre, he is working on Tankred Dorst’s Merlin, or The Waste Land; with the company of the Budapest Operetta Theatre, he is rehearsing Nine, the acclaimed Broadway musical by Arthur Kopit and Maury Yeston, based on Federico Fellini’s Oscar-winning film 8½. An interesting coincidence is that Merlin and Nine are both celebrating the fortieth anniversary of their creation at almost exactly the same time.
How different is it to make theatre “behind closed doors” under the current circumstances?
In the case of an open theatrical workshop such as Maladype, it presents a particularly complex challenge. Our situation is further complicated by the fact that we are unable to stream our productions because we have neither the necessary technical infrastructure nor sufficient financial support. As a result, in accordance with pandemic regulations, the actors of our company are concentrating primarily on rehearsals for Tankred Dorst’s Merlin, which we intend to premiere when we can once again meet audiences in person after reopening.
What has to be done differently when directing a play compared to the usual process?
The creative process is currently determined by COVID regulations, and adapting to them is no small task. It is essential that this special rehearsal period be made safe for everyone through carefully organized rehearsal practices. Consequently, the actors’ performances—which are meant to realize the director’s vision—must be built consciously and with complexity within these constraints. An important consideration is ensuring that the quality of the ensemble’s interaction remains intact.
It is no coincidence that Maladype Theatre, celebrating its twentieth anniversary this year, has chosen Merlin as a means of reflecting on its unique history and various creative periods. What does Maladype mean to you? What do these twenty years represent?
The word Maladype means “encounter” in the Lovari language. Both the concrete and abstract meanings of the word embody everything that is essential to my understanding of theatre. For me, Maladype is the freest platform born from a chance encounter twenty years ago—a place where I can repeatedly experience the fullest, happiest, and most authentic form of existence.Over the course of our shared professional evolution, we have spoken about countless sensitive issues through the language of contemporary theatre and formed alliances with extraordinary collaborators who themselves sought the unconventional and the new. In these unusual adventures, our greatest accomplices have always been the audience. Their renewed attention and spirit of adventure are the true proof of these past twenty years.
What should audiences know about Merlin?
Merlin is a monumental synthesis of the historical and metaphysical experiences of twentieth-century humanity. It is a kind of “historical revue” that speaks about Europe’s past, present, and future. Dorst’s story, set in early medieval England, begins with the birth of its profoundly contradictory protagonist. Merlin is the famous wizard of Celtic mythology, the son of the Devil, conceived so that his father’s will might be fulfilled and humanity’s true nature—its innate evil—might be unleashed. Merlin, however, refuses to obey. Defying his father’s satanic plan, he creates an alternative social order founded on peace, equality, and justice: the ideal of the Round Table, which the young King Arthur is destined to realize. The central question that resonates across the ages is this: Will humanity ever be capable of creating an ideal, harmonious society?
Maury Yeston, the composer of Nine, contributed additional musical material to your production. That must be a major honor.
It is an enormous honor. Thanks to Mr. Yeston, three iconic songs from the film adaptation of Nine—Cinema Italiano, Take It All, and Guarda la Luna—will be performed for the first time in the forty-year history of the Broadway success in the Budapest Operetta Theatre production. The Hungarian lyrics were translated by György Szomor, who also portrays the film director Guido Contini, the production’s protagonist. Because Nine is being staged with three separate casts at the Operetta Theatre, the leading role is also shared by Attila Dolhai and Zsolt Homonnay. In this kaleidoscopic production, audiences will also see Ildikó Bánsági, Zsuzsa Kalocsai, Andrea Szulák, Ágota Siménfalvy, Veronika Nádasi, Zsuzsi Vágó, Kata Janza, Lilla Polyák, Anna Peller, and Ildikó Keresztes embodying the various female archetypes.
What should people know about Nine?
This extraordinary musical, inspired by Federico Fellini’s Oscar-winning masterpiece 8½, was created in the early 1980s with a libretto by Arthur Kopit and music and lyrics by Maury Yeston. Fellini’s legendary film was not only the first truly autobiographical director’s confession in cinema history; it was also a brilliant and innovative work that profoundly influenced other artists. Nine premiered on Broadway in New York on May 9, 1982, achieving enormous success with both audiences and critics. It received twelve Tony Awards, including honors for Best Musical, Best Original Score, and Best Costume Design. The production ran for 729 performances and subsequently embarked on an international journey, being staged throughout the United States, South America, London, and numerous European countries. The score draws on a wide variety of musical genres, creating a rich and captivating soundscape that includes several well-known songs.
When did you first see Fellini’s film, and what was your initial impression?
I first saw the film as a student in the drama program in Szentes. I was completely captivated by the circus-like whirlwind that symbolized the vortex of creative processes unfolding within Marcello Mastroianni’s character. I loved the way the protagonist’s world was filtered through fantasy, dreams, and memory. As a child, I wanted to become a clown myself, so I could easily relate to Fellini’s fascination with the circus and effortlessly identify with the various archetypes. Of course, it took years before I could fully understand and appreciate the “complex simplicity” of the film’s unique language.
Have you previously had the opportunity to see either of these works on stage? Do you consciously try to avoid solutions similar to those used by other productions?
Although I have seen several different adaptations of both works, none of them influenced the development of my own vision. I usually encourage actors to watch every adaptation they can find and draw their own conclusions. A successful acting moment in one production does not automatically contain a universally valid explanation of the causal mechanisms behind a character’s behavior. During rehearsals, I strive to create coordinates within which actors can discover their own truth, beginning from their own personalities.
How demanding is it to oversee two productions of this scale simultaneously? How can it be done?
It requires the combined efforts of many people to stage two large-scale works under ideal conditions. Fortunately, both at Maladype Theatre and at the Operetta Theatre I am able to work with exceptionally prepared and professional teams for whom the success of the production is just as important as it is to me. The most important thing is that I place complete trust in the professionals around me who handle both the short-term and long-term organizational and practical responsibilities.
How difficult—or perhaps how easy—is it to reflect on current political and social realities through theatre? Is it even necessary?
Direct political references make it very easy to win the approval of audience members who come to the theatre primarily to demonstrate their partisan commitments, intoxicated by various ideologies and political convictions. Painting a nuanced and detailed picture of our public life is far more difficult—and far more risky. In a society filled with tensions, it is an especially challenging human and artistic task. In my productions, I try to identify those impulses of reality that, by virtue of their factual nature, neither judge nor discriminate.
How do you see the future of theatre? What is most important at the moment—for artists and audiences alike? What can we do?
Immediately after the outbreak of the pandemic, when people were voluntarily exiling themselves in their homes, I had the impression that theatre was missed by only a relatively small portion of the population. The longing for daily theatrical experiences and personal encounters seemed strongest among theatre professionals themselves. At the time, I felt that the pandemic would permanently alter traditional theatre-going habits and that, after quarantine, people would choose different forms of cultural consumption. By now, however, it has become clear that everyone has reached saturation point with online content. People are beginning once again to crave direct, human moments and communal experiences. Soon, theatre will once again have a mobilizing role to play, and I trust that it will fulfill that role with authenticity.
Interview by Gergő Császár, Budapest BEAT, 2021
translated by: Zsuzsanna Juraszek
How different is it to make theatre “behind closed doors” under the current circumstances?
In the case of an open theatrical workshop such as Maladype, it presents a particularly complex challenge. Our situation is further complicated by the fact that we are unable to stream our productions because we have neither the necessary technical infrastructure nor sufficient financial support. As a result, in accordance with pandemic regulations, the actors of our company are concentrating primarily on rehearsals for Tankred Dorst’s Merlin, which we intend to premiere when we can once again meet audiences in person after reopening.
What has to be done differently when directing a play compared to the usual process?
The creative process is currently determined by COVID regulations, and adapting to them is no small task. It is essential that this special rehearsal period be made safe for everyone through carefully organized rehearsal practices. Consequently, the actors’ performances—which are meant to realize the director’s vision—must be built consciously and with complexity within these constraints. An important consideration is ensuring that the quality of the ensemble’s interaction remains intact.
It is no coincidence that Maladype Theatre, celebrating its twentieth anniversary this year, has chosen Merlin as a means of reflecting on its unique history and various creative periods. What does Maladype mean to you? What do these twenty years represent?
The word Maladype means “encounter” in the Lovari language. Both the concrete and abstract meanings of the word embody everything that is essential to my understanding of theatre. For me, Maladype is the freest platform born from a chance encounter twenty years ago—a place where I can repeatedly experience the fullest, happiest, and most authentic form of existence.Over the course of our shared professional evolution, we have spoken about countless sensitive issues through the language of contemporary theatre and formed alliances with extraordinary collaborators who themselves sought the unconventional and the new. In these unusual adventures, our greatest accomplices have always been the audience. Their renewed attention and spirit of adventure are the true proof of these past twenty years.
What should audiences know about Merlin?
Merlin is a monumental synthesis of the historical and metaphysical experiences of twentieth-century humanity. It is a kind of “historical revue” that speaks about Europe’s past, present, and future. Dorst’s story, set in early medieval England, begins with the birth of its profoundly contradictory protagonist. Merlin is the famous wizard of Celtic mythology, the son of the Devil, conceived so that his father’s will might be fulfilled and humanity’s true nature—its innate evil—might be unleashed. Merlin, however, refuses to obey. Defying his father’s satanic plan, he creates an alternative social order founded on peace, equality, and justice: the ideal of the Round Table, which the young King Arthur is destined to realize. The central question that resonates across the ages is this: Will humanity ever be capable of creating an ideal, harmonious society?
Maury Yeston, the composer of Nine, contributed additional musical material to your production. That must be a major honor.
It is an enormous honor. Thanks to Mr. Yeston, three iconic songs from the film adaptation of Nine—Cinema Italiano, Take It All, and Guarda la Luna—will be performed for the first time in the forty-year history of the Broadway success in the Budapest Operetta Theatre production. The Hungarian lyrics were translated by György Szomor, who also portrays the film director Guido Contini, the production’s protagonist. Because Nine is being staged with three separate casts at the Operetta Theatre, the leading role is also shared by Attila Dolhai and Zsolt Homonnay. In this kaleidoscopic production, audiences will also see Ildikó Bánsági, Zsuzsa Kalocsai, Andrea Szulák, Ágota Siménfalvy, Veronika Nádasi, Zsuzsi Vágó, Kata Janza, Lilla Polyák, Anna Peller, and Ildikó Keresztes embodying the various female archetypes.
What should people know about Nine?
This extraordinary musical, inspired by Federico Fellini’s Oscar-winning masterpiece 8½, was created in the early 1980s with a libretto by Arthur Kopit and music and lyrics by Maury Yeston. Fellini’s legendary film was not only the first truly autobiographical director’s confession in cinema history; it was also a brilliant and innovative work that profoundly influenced other artists. Nine premiered on Broadway in New York on May 9, 1982, achieving enormous success with both audiences and critics. It received twelve Tony Awards, including honors for Best Musical, Best Original Score, and Best Costume Design. The production ran for 729 performances and subsequently embarked on an international journey, being staged throughout the United States, South America, London, and numerous European countries. The score draws on a wide variety of musical genres, creating a rich and captivating soundscape that includes several well-known songs.
When did you first see Fellini’s film, and what was your initial impression?
I first saw the film as a student in the drama program in Szentes. I was completely captivated by the circus-like whirlwind that symbolized the vortex of creative processes unfolding within Marcello Mastroianni’s character. I loved the way the protagonist’s world was filtered through fantasy, dreams, and memory. As a child, I wanted to become a clown myself, so I could easily relate to Fellini’s fascination with the circus and effortlessly identify with the various archetypes. Of course, it took years before I could fully understand and appreciate the “complex simplicity” of the film’s unique language.
Have you previously had the opportunity to see either of these works on stage? Do you consciously try to avoid solutions similar to those used by other productions?
Although I have seen several different adaptations of both works, none of them influenced the development of my own vision. I usually encourage actors to watch every adaptation they can find and draw their own conclusions. A successful acting moment in one production does not automatically contain a universally valid explanation of the causal mechanisms behind a character’s behavior. During rehearsals, I strive to create coordinates within which actors can discover their own truth, beginning from their own personalities.
How demanding is it to oversee two productions of this scale simultaneously? How can it be done?
It requires the combined efforts of many people to stage two large-scale works under ideal conditions. Fortunately, both at Maladype Theatre and at the Operetta Theatre I am able to work with exceptionally prepared and professional teams for whom the success of the production is just as important as it is to me. The most important thing is that I place complete trust in the professionals around me who handle both the short-term and long-term organizational and practical responsibilities.
How difficult—or perhaps how easy—is it to reflect on current political and social realities through theatre? Is it even necessary?
Direct political references make it very easy to win the approval of audience members who come to the theatre primarily to demonstrate their partisan commitments, intoxicated by various ideologies and political convictions. Painting a nuanced and detailed picture of our public life is far more difficult—and far more risky. In a society filled with tensions, it is an especially challenging human and artistic task. In my productions, I try to identify those impulses of reality that, by virtue of their factual nature, neither judge nor discriminate.
How do you see the future of theatre? What is most important at the moment—for artists and audiences alike? What can we do?
Immediately after the outbreak of the pandemic, when people were voluntarily exiling themselves in their homes, I had the impression that theatre was missed by only a relatively small portion of the population. The longing for daily theatrical experiences and personal encounters seemed strongest among theatre professionals themselves. At the time, I felt that the pandemic would permanently alter traditional theatre-going habits and that, after quarantine, people would choose different forms of cultural consumption. By now, however, it has become clear that everyone has reached saturation point with online content. People are beginning once again to crave direct, human moments and communal experiences. Soon, theatre will once again have a mobilizing role to play, and I trust that it will fulfill that role with authenticity.
Interview by Gergő Császár, Budapest BEAT, 2021
translated by: Zsuzsanna Juraszek