MGP: The return of Ulysses to Temesvár
Homer, Sándor Márai (Peace in Ithaca, and from Monteverdy’s baroque opera, from the Return of Ulysses), the guest, Zoltán Balázs has made a chamber performance from these in Temesvár, in the Gergely Csiky Governmental Hungarian Theatre. The troupe from clever devotedly well-ordered youngsters with vivid looks, can walk familiarly in and out of the heroic poem and from the roles of its frivolous story.
Ulysses takes place in the Trojan war, however he unwillingly does it. Ithaca clever king, who has finished his armour things is about to go home to his wife. But he does not try to do it very much. Ulysses is brave. He is well educated. He is clever. He is tricky. His trick is the sneaked in wooden horse. He is wondering for ten years. Or for twenty. Some-where his way to home lasts for forty years. The Gods make him leave his way to home. Or his interest does. Or his adventurous nature does. However, his undying desire to unite his family does not make him do everything to arrive home.
His faithful wife is waiting doing handicraft for the crowed of suitors, who ruin the property. She refuses her violent suitors (Attila Kiss, Géza Asztalos, Csaba András Molnos). She is faithful to her husband, who is late, the king, who is always dissuaded from his way to home, lives through tale-like adventures, many women have caught him, until he gets home old. Solveig is spinning and waiting for him faithfully, while her Peer Gynt is looking for himself in the laps of strange women. Solveig, so Penelope is waiting for him and getting pale. However, the queen in Temesvár (the wonderful Erika Tankó) is sitting on a throne all through the performance. She can understand from above her situation with sceptic calmness. Not without any irony she comments on her fate connected to the same place.
Attila Balázs is a soldier Ulysses in silver armour. He steps of his statue-like podium, and however, he accepts the temptation of highness, he performs a retired mythological hero. He remains the leading drive of the actions to his son, Telemachus. Zénó Faragó follows his father’s wondering adventures. The modern, young man would like to know surely the truth between the lies, mythological tales, fake stories of war. He wants to know: if it was meaningful to wait for in sacrificing way for such a long time to the fabulous idol, could he bring salvation to their everyday life? Zénó Faragó gets memories, the viewers’ attention and the reign over the stage with growing drive. His meeting with nymph Calypso (with Andrea Tokai, who has powerful talent and magical diction) is the most captivating theatrical moment of the performance. We are not in island of Ógügié. Nor in Odyssey. The place is Temesvár, the Gergely Csiky Theatre in the old ballet hall in the Gyulafehérvár Street (str. Alba Iulia). The time is today. Two passionate modern people are on the theatrical stage.
The playfully ironic Ágota Szilágyi, as Pallas Athena who plays naughty tricks with humans. Circe: Etelka Magyari, Nausicaa: Rita Lőrincz, Euryclea: Katalin Anikó Páll. The swineherd, who helps kill the suitors, is Zsolt András Bandi. All of them move with plastic utility in the pool by ankles (according to András Szőllősi’s training). They wear and use Velica Panduru’s set royally and her costumes, with rich imagination and material. They synchronize misleading the Italian opera performance, which has been made from two Monteverdi records. Their synchronic work is excellent, because they themselves can sing wonderfully.
The pair of Fellner&Hellmer, who planned the Monarchy full with theatres, in the front of the József Ferenc Theatre about a century ago built in the cubistic concrete Dial, which refers to the Romanian plain Dial of the Duiliu Marcu, and he ruined that way the entrance of the theatre from 1875. To make its history back was prevented by history. The cultic background of the revolution in Temesvár was the building of theatre. Duo to reasons of bereavement it is untouchable. The original Fellner&Hellmer cannot be got from under it.
The youngsters of the theatre, named after Gergely Csiky, can run a dedicated contemporary theatre.
Péter Gál Molnár, Nol.hu, 2010
(translated by: Veronika Fülöp)
Ulysses takes place in the Trojan war, however he unwillingly does it. Ithaca clever king, who has finished his armour things is about to go home to his wife. But he does not try to do it very much. Ulysses is brave. He is well educated. He is clever. He is tricky. His trick is the sneaked in wooden horse. He is wondering for ten years. Or for twenty. Some-where his way to home lasts for forty years. The Gods make him leave his way to home. Or his interest does. Or his adventurous nature does. However, his undying desire to unite his family does not make him do everything to arrive home.
His faithful wife is waiting doing handicraft for the crowed of suitors, who ruin the property. She refuses her violent suitors (Attila Kiss, Géza Asztalos, Csaba András Molnos). She is faithful to her husband, who is late, the king, who is always dissuaded from his way to home, lives through tale-like adventures, many women have caught him, until he gets home old. Solveig is spinning and waiting for him faithfully, while her Peer Gynt is looking for himself in the laps of strange women. Solveig, so Penelope is waiting for him and getting pale. However, the queen in Temesvár (the wonderful Erika Tankó) is sitting on a throne all through the performance. She can understand from above her situation with sceptic calmness. Not without any irony she comments on her fate connected to the same place.
Attila Balázs is a soldier Ulysses in silver armour. He steps of his statue-like podium, and however, he accepts the temptation of highness, he performs a retired mythological hero. He remains the leading drive of the actions to his son, Telemachus. Zénó Faragó follows his father’s wondering adventures. The modern, young man would like to know surely the truth between the lies, mythological tales, fake stories of war. He wants to know: if it was meaningful to wait for in sacrificing way for such a long time to the fabulous idol, could he bring salvation to their everyday life? Zénó Faragó gets memories, the viewers’ attention and the reign over the stage with growing drive. His meeting with nymph Calypso (with Andrea Tokai, who has powerful talent and magical diction) is the most captivating theatrical moment of the performance. We are not in island of Ógügié. Nor in Odyssey. The place is Temesvár, the Gergely Csiky Theatre in the old ballet hall in the Gyulafehérvár Street (str. Alba Iulia). The time is today. Two passionate modern people are on the theatrical stage.
The playfully ironic Ágota Szilágyi, as Pallas Athena who plays naughty tricks with humans. Circe: Etelka Magyari, Nausicaa: Rita Lőrincz, Euryclea: Katalin Anikó Páll. The swineherd, who helps kill the suitors, is Zsolt András Bandi. All of them move with plastic utility in the pool by ankles (according to András Szőllősi’s training). They wear and use Velica Panduru’s set royally and her costumes, with rich imagination and material. They synchronize misleading the Italian opera performance, which has been made from two Monteverdi records. Their synchronic work is excellent, because they themselves can sing wonderfully.
The pair of Fellner&Hellmer, who planned the Monarchy full with theatres, in the front of the József Ferenc Theatre about a century ago built in the cubistic concrete Dial, which refers to the Romanian plain Dial of the Duiliu Marcu, and he ruined that way the entrance of the theatre from 1875. To make its history back was prevented by history. The cultic background of the revolution in Temesvár was the building of theatre. Duo to reasons of bereavement it is untouchable. The original Fellner&Hellmer cannot be got from under it.
The youngsters of the theatre, named after Gergely Csiky, can run a dedicated contemporary theatre.
Péter Gál Molnár, Nol.hu, 2010
(translated by: Veronika Fülöp)