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Studio K Theatre


Hungarian with English simultaneous interpretation

2 Ddecember 2011, 22:00
85' without intermission
1600 HUF
061 216 7170 
06 70 428 4601 (only text message)


photo by Áron Swierkiewicz

Kinga Mezei was born in 1976 in Senta, Yugoslavia. She's an actor, director, who brought with her from her childhood the strong effect of the clay, wool, paint, light and shadow, music and art, and all this fully permeate every piece of her works. In 1999 she graduated as an actor from the Novi Sad Academy of Arts Faculty. Then she became a member of the Novi Sad Theatre, and in 2004 the member of the Bárka Theatre Budapest. In 2010 by the request of the Studio K Theater she puts on stage the Sobers' Silence after Géza Csáth.



Katalin Homonnai, Krisztián Kovács, Zoltán Hannus, Dániel Lovas, Lajos Spilák, Gábor Nagypál, Gergely Ittzés, Máté Pozsár, Ernő Hock

Lightning Design

Gergely Fodor


Ilona Németh


Szilárd Mezei


Eszter Hajós

Director's Assistant

Gábor Nagypál

Written by

Géza Csáth, Kinga Mezei, Kata Gyarmati

Scenery design and directed by


Géza Csáth (1988-1919) was a writer, critic, music theorist and doctor. Behind his vocation as a writer is the uneasiness of a diagnostician is to be recognized: he wants to see everything until the roots, he belongs to the interrogators of the stubborn reality. His stories often can be read, as if the diagnosis of the figures would be delivered for us. Most of his stories are cases - even in the clinical meaning of the word as well.

Men brooding in a wine cellar tell meaningless stories, and in a delirious state evoke the event that casts a shadow on their lives. The alternation of night and day is meaningless here, a place that is a refuge to these men on the road to oblivion. A sequence of etudes makes up the story, in which two worlds mingle, until it becomes hard to decide which one is the more real. The performance travels the boundary between humour, hopelessness and unfulfilled dreams.

"Five men tell the stories Csáth, and other three play music to it. Szilárd Mezei's music is shaking nervously, at other times is vibrating melancholic, at other times it contradicts dramaturgically the performance, for example, changes the atmosphere. The characters are dancing at the beginning of the performance, at least they dance in the Csáth's atmosphere, they show us the structure of the performance: one woman will play all the women roles, that in one way or another played a role in the men's lives; from her will be peeled off  one by one the jacket with masculine significance.” (Judit Csáki, Magyar Narancs)