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Szkéné Theatre and Forte Company

Agota Kristof: The Notebook

Erick Aufderheyde’s stage version translated by Mária Ignjatovic


30. November 2013. 20.00

Szkéné Theatre


130’ without intermission

in Hungarian with English simultaneous translation


photo: Gábor Dusa

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Máté Andrássy, Borbála Blaskó, Csaba Krisztik,
József Kádas, Norbert Nagy/ Tamás Keresztes, Katalin Simkó

Music: Csaba Ökrös
Costumes: Mari Benedek
Light: Ferenc Payer
Production manager: Judit Számel

Directed by: Csaba Horváth


Supported by: NKA, EMMI, MMA

„WHO – Forte is an independent company founded by director-choreographer Csaba Horváth in 2005. The actor-dancer members are experimenting with establishing a new form language for the Hungarian audience. Their aim is to create a new homogeneous language of bodies, voices, dancing, music and text. The genre of physical theatre reformulated this way tried to reflect upon storytelling, situation, scene arrangement, stage time, theatre space and dramaturgy effect in a different way and thus develop a very exciting and original mode of acting.


WHAT –During the war a mother takes her sons to their grandmother, a wicked witch of folktales. The task for the boys is to learn the secrets of survival. They write down what they see, hear do and learn in the Notebook. The body meets Nature. Man faces inhumanity, and survives. The Notebook is one of the most important works of Ágota Kristóf, a Swiss writer of Hungarian origin who wrote in French. Her first novel, which has been translated into thirty languages, is a fairy tale with black humor and a “Bildungsroman” in one. A vision about a cruel and inhuman world and the horrors of the war and the controversial period following it. The writer who received the Gottfired Keller, Schiller, Kossuth and the Austrian State prizes is considered one of the most important authors of the late 20th century by French critics. Her significance is compared to that of Ionesco’s and Beckett’s.


WHY – What the Forte Company accomplishes is amazing. Movements, the physical body and choreography have developed into a suggestive language under the direction of Csaba Horváth. The spectacularly stylized brutality makes cruelty totally possible to experience. The smartly chosen (and worked out to the extremes) system of symbols gets decoded by itself complemented by the excellent cooperation of actors who trust one another and a great sound background.” (István Ugrai)




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