Balázs Zsedényi: From the suit until the rubber duck
The Egg(s)Hell performance of Maladype, which is full of vitality, game and joy of life, is composed between the others on Bolero by Ravel. Mainly without any voice, they put on stage some memorable moments of the relationship between men and women with the egg in the main role, on the scale from the childish teasing until the sexual giving and getting, the common characteristic of these is the game, which has bigger and smaller bet.
A strange tension fills the whole place of the New Studio of Thália Theatre, which can be thanked only for some eggs, which are going against all physical rules, from hands to hands, mouth to mouth,, and from any other places to anywhere else, with pulsating dynamic, and some actors, who are similar to precise artists, but they are working with defining delicacy, who are concentrating with all their parts. This atmosphere forms a strange composition with the motives of game, which are composed on classical music, built well over-thought, and it is opened in symbiosis with the sounds. These motives are often repeated, but the individualities, who are opened freely between very strict formal frames, with different contents, and they fill with newer and newer surprises the similar elements on the stage (we just have to think about the scenes of choosing of chairs).
Zoltán Balázs’ performance starts its story with a serious show of strength of maturity, which slowly turns into a chasing, then into a game of cats and mice, after it they change it into a genesis metaphor of balls and eggs, and after the fulfilling of love in a demonstrative way – but not pitifully – make it smear on the sad, black wall (supporting the safe sex!). It is not the end, so they immediately go back to play, because it is good to be a child, and it is not even impossible as an adult.
The troupe is shining, they feel themselves well, they play joyfully mainly to one another, and with each other, sometimes in a childish way, they show themselves to the world. It gives such an intimate atmosphere to the performance, which can get the viewers easily. It is true, that for it we need the musical material too, which helps the viewers to keep their attention on the “opening” fazes of each scenes. We have to add to it, that the music is very good, the Bolero, which is chosen to the final – and those intermezzos with Latin mood too, which follow the evening. Éva Bakos, Hermina Fátyol, Kamilla Fátyol, Ákos Orosz, Zoltán Lendváczky, Zsolt Páll, Katalin Simkó and Ádám Tompa are taking care of one another all through the performance, they work together like a well-operating machine, while they are moving huge physical and mental energy on the stage.
The Egg(s)Hell becomes not an importantly whirling, but dynamic and cosy performance, which gives a unique form of entertainment in an elevated sense, and they invite the viewers with more childish soul for a passive game.
Balázs Zsedényi, 7óra7, 2010
(translated by: Veronika Fülöp)
A strange tension fills the whole place of the New Studio of Thália Theatre, which can be thanked only for some eggs, which are going against all physical rules, from hands to hands, mouth to mouth,, and from any other places to anywhere else, with pulsating dynamic, and some actors, who are similar to precise artists, but they are working with defining delicacy, who are concentrating with all their parts. This atmosphere forms a strange composition with the motives of game, which are composed on classical music, built well over-thought, and it is opened in symbiosis with the sounds. These motives are often repeated, but the individualities, who are opened freely between very strict formal frames, with different contents, and they fill with newer and newer surprises the similar elements on the stage (we just have to think about the scenes of choosing of chairs).
Zoltán Balázs’ performance starts its story with a serious show of strength of maturity, which slowly turns into a chasing, then into a game of cats and mice, after it they change it into a genesis metaphor of balls and eggs, and after the fulfilling of love in a demonstrative way – but not pitifully – make it smear on the sad, black wall (supporting the safe sex!). It is not the end, so they immediately go back to play, because it is good to be a child, and it is not even impossible as an adult.
The troupe is shining, they feel themselves well, they play joyfully mainly to one another, and with each other, sometimes in a childish way, they show themselves to the world. It gives such an intimate atmosphere to the performance, which can get the viewers easily. It is true, that for it we need the musical material too, which helps the viewers to keep their attention on the “opening” fazes of each scenes. We have to add to it, that the music is very good, the Bolero, which is chosen to the final – and those intermezzos with Latin mood too, which follow the evening. Éva Bakos, Hermina Fátyol, Kamilla Fátyol, Ákos Orosz, Zoltán Lendváczky, Zsolt Páll, Katalin Simkó and Ádám Tompa are taking care of one another all through the performance, they work together like a well-operating machine, while they are moving huge physical and mental energy on the stage.
The Egg(s)Hell becomes not an importantly whirling, but dynamic and cosy performance, which gives a unique form of entertainment in an elevated sense, and they invite the viewers with more childish soul for a passive game.
Balázs Zsedényi, 7óra7, 2010
(translated by: Veronika Fülöp)