Festival Diary

End

At the end of REFLEX4 we paddled back to the city and to a local production: the performance Lift by Studio M was followed by the concert of sZempöl Offchestra. The title for Ferenc Fehér’s choreography is both concrete and abstract: a business-like, industrial ambience; the modern, neutral space in a lift; the states of…

Festival Diary

A director of his own – Day 12

By gently drumming with his fingers and crinkling a plastic bag Tamás Keresztes is creating rain, a humid, cold afternoon in late Autumn, then he opens an umbrella and stands underneath the rain. This is how Diary of a Madman starts, with a witty theatrical gag, after which we see him evolve as Poprishchin who…

Festival Diary

Basements, lairs, dark pitfalls – Day 11

Jernej Lorenci is an exciting Slovenian director, I have greatly enjoyed many of his performances. It was also good to rewatch Dead Man Comes for His Sweetheart, although it affected me much more intensively three years ago. The performance is built on gestures that are simple in their display yet also refined – some dramatic…

Festival Diary

A child sitting on the edge of the abyss – Day 10

The only performance I watched on Sunday evening was Joseph and His Brothers by the Örkény Theatre from Budapest and I myself was happy that it was the only one and not because of the massive five hours it lasted, because length in itself is unimportant. If the material didn’t ask for it, it would…

Festival Diary

Foaie verde* – Day 9

Maria Tănase was the first to combine French chansons with Romanian folk music, more precisely the melancholic-lyrical genre of doinas and dirges, about the torments of a passionate life and world, setting an example of how folklore can become a source of inspiration not only in classical music but in contemporary pop music, too. Her…

Dance with pictures of the mother – Day 8

Two years ago She She Pop, a theatre company from Berlin, made a performance in which they featured their fathers: Testament (2010) was a one-of-a-kind adaptation of King Lear which presented – through situations and bits of dialogue taken out from the play, respectively through the performers’ own relations with their parents – the problems…

Festival Diary

Be yourself – Day 7

Tonight you can watch both Gob Squad’s Kitchen and She She Pop’s The Rite of Spring, and their proximity makes sense: the two companies are not only linked through their chosen aesthetics but also because they come from the same school, from the Institute for Applied Theatre Studies in Giessen, viewed as a laboratory for…

Festival Diary

Shining

I am happy that the public of Sfântu Gheorghe got to see Grace, as Adrienn Hód is one of the most exciting artists of contemporary Hungarian dance and, if I were to end with a bon mot, the rest is in the performance. Which is a cheap shot for a hyperbole but, firstly, they are…

Festival Diary

Sfântu Gheorghe lifestyle

Yesterday I managed to go to the Art Cinema where during these days, in the framework of an initiative called Teatroteka on Tour, Polish theatre of television works are screened. The event is co-organised by the Adam Mickiewicz Institute from Warsaw and the Balassi Institute from Sfântu Gheorghe. Now you must be thinking of theatre…

Festival Diary

Cordelia cries – Day 2

Director Grzegorz Bral steps out in front of the audience at the beginning of the performance – he is sort of a travel guide, a narrator, a master of ceremonies and a choir conductor, leading us through the work (the self-celebratory but ironic presence of the director is not unusual in Polish theatre but the…