“They come and ask: What kind of idea I would like to embody in Faust? As I would know it, as I would be able to tell it!” If we can believe in Eckermann’s notes, Goethe had these ideas about his masterpiece, which was sensational at his own time too. Zoltán Balázs, the director of the fantasy play, which can be watched in the Puppet Theatre of Budapest, does not deal a lot with the ideology of Faust.

There are books, which are important according to the common-knowledge, there are references on them many times, and many places, but only a few people have read these texts. Everybody has an opinion, idea about it, as some of its turns and quotes have built in everyday phrases. Many people have strict expectations in connection with their possible staging. Faust has the same kind of judgement too.

The two parts of Goethe’s play are separated not only by the 25 years, between their writing, but by the stylistic and poetic differences are also stressed between them. The calm classicism of the first part is totally opposite of the playful irony of the second part, which is rich in symbols and puzzles, with their reflective motifs and mythological references. The hardness and length of the text is the reason why we can rarely see the “whole” Faust on stage. The quotation mark needs because of course Zoltán Balázs’ staging cannot be characterized with the usage of the complete text.

The director together with Sándor Zsótér, who is the dramaturg, decide to use simultaneous staging. As the result of the suspension of the linear story telling of the performance, it requires much more intensive accepting behaviour from the viewers. We can watch alternately scenes from both parts of the dramatic poem. In the middle there is the life-long journey, which helps understanding and learning. It is a journey in space, in time, in culture and human soul. Faust and Mephisto in reality are two completing soul parts of a personality, its complementary segments. From the troupe, which is heterogeneous from the point of view of their ages, almost all of them play all main roles for shorter or longer time. So that way we can see all important figures young and very old too.

Judit Gombár’s fantasy creatures and space, which she has designed are important pillars of the performance. The visual world is put together from the statues of Aztec gods, figures, who are familiar from Hieronymus Bosch’s painting, The Garden of Earthly Delights, and the antlered headed, insect-like people of the American sci-fi series. An important dramaturgical element is a pink creature, that walks on two legs, with fish-like tail, it is the pure version of Faust and Mephisto’s common personality. It reflects to the happening, sometimes seriously, sometimes counterpoints in a humorous way the happenings. The giant necklace, which Faust gives to Margit, is moving, which if it is needed seems to be a rosary, if needed it seems to be useful onion ring for the defence against the devil.

The stage is populated by giant, sometimes strictly standing, then flabby penises, and open, vulvas, which are waiting for intrusion, and creatures, which tusks can be taken out. The ordinary space counterpoints it. which shows the inside of a subway can and an office hall at the same time.

Zoltán Balázs’ ingenious staging is put together from the scales of sensual, beautifully composed images. It is theatre in theatre, it is shadow play and pantomime: these are just some characteristic examples form the cavalcade of the genre. The most successful parts are those, where the moving of the fantasy creatures, the performance of the actors and the story are organically connected to one another. Margit’s seduction is an example for it, which is completed by the play about Helena’s kidnapping in the background, or the scene of the figure, made of sticks.

The II. act is harder to follow – there are more reasons for it. The keeping of the unity of the action is not always successful, and the actors’ waving performances have a role in it too, more exactly the diction has. That type of method of performance, which Zoltán Balázs wants from his actors, is based on very punctual text telling. The troupe of the Puppet Theatre try to do their best, but we can feel well, that the actors feel themselves better when they move the fantasy creatures. Of course, there are some exceptions: Gyöngyi Blasek is suggestive in Margit’s role, who is preparing for death, as well as Norbert Ács’ Faust remains memorable.

The Puppet Theatre of Budapest advertises Faust as a performance for youngsters and adults, but because of its dramaturgical complexity of staging it can kindly offer only to the later ones.

Szabolcs Szekeres, Criticai Lapok, 2009

(translated by: Veronika Fülöp)