Hungarian
No matter how hard we try to phrase it in more profound ways, with different characteristics, the national identity as a basic identity will after all be determined as a linguistic identity. This is perhaps its only tangible aspect. Minorities are determined by communities of their own minority, respectively of the majority, and also, the so-called community of the mother country. They cannot be different as they are increasingly burdened from all directions to be what they ought to be. Discrimination and obligation forces them to always face up with the identity that the minority and majority community place upon them. A minority cannot be different. Because of this paradox they become different. They are the metaphor of otherness. They don't belong anywhere. Also, they don't have a home of their own. But they have their own hardly definable identity of being different. At the same time, they view the world both through their inferiority and superiority complex. They are subordinate but act as if they were on top. They want to be both accepted and different. Both thanks to their ethnic identity and like those who can afford to be different.
As a matter of fact, we have spoken many times about how do we differ, resemble, and we have almost blasphemically thrown it in your faces our truth about you, about us. Stereotypes, big truths, criticism, the lack, failure or victory of political and social responsability is serves as mere inspiration, it is not more important than the message that refuses the spoken, ethnically restricted language. If they don't understand this in Hungarian, they will understand it elseway. Anyway, Hungarian is only understood by Hungarians. I am not interested in what we have in common, nor in what makes us different. After all, all languages serve to deliver meanings that are above the ethnic, that are universal, universally human. After all, this is what the performance is about. About human language. About a human theatrical language. This theatrical action takes place in a state that precedes or succeeds language, this language is true in an aesthetic and poetic sense. It does not want to tell a story or be told. It refuses, stands against the spoken language. Why?
Opening night: 22 May 2016
Not in Hungarian language. We don't provide translation.
Running time: 70 minutes without intermission
Composer: Irena Popović As a matter of fact, we have spoken many times about how do we differ, resemble, and we have almost blasphemically thrown it in your faces our truth about you, about us. Stereotypes, big truths, criticism, the lack, failure or victory of political and social responsability is serves as mere inspiration, it is not more important than the message that refuses the spoken, ethnically restricted language. If they don't understand this in Hungarian, they will understand it elseway. Anyway, Hungarian is only understood by Hungarians. I am not interested in what we have in common, nor in what makes us different. After all, all languages serve to deliver meanings that are above the ethnic, that are universal, universally human. After all, this is what the performance is about. About human language. About a human theatrical language. This theatrical action takes place in a state that precedes or succeeds language, this language is true in an aesthetic and poetic sense. It does not want to tell a story or be told. It refuses, stands against the spoken language. Why?
Opening night: 22 May 2016
Not in Hungarian language. We don't provide translation.
Running time: 70 minutes without intermission
Choreography: Kiss Anikó
Costume Designer: Marina Sremac
Masks: Daniela Mamužić
Psychodramatic Consultant: Boris Telečki
Dramaturg: Góli Kornélia
Stage Manager: Molnos András
Co-producer: Theatre and Art Base, Zsámbék
Performed by
Borbély B. Emília
Csata Zsolt
Éder Enikő
Lőrincz Rita
Simó Emese
Czumbil Orsolya
Kiss Anikó
Kucsov Boris
Mikes Imre Elek
Nagyabonyi Emese
