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Móricz Zsigmond Theatre, Nyíregyháza

Sándor Petőfi: Tiger and Hyena


2. December 2013. 19.00

Bárka Theatre


170’ in Hungarian


Photo: Tamás Kundri

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Saul: Bence Vaszkó

Borics: Zsolt Vicei

Predszláva: Márta Szabó

II. (Blind) Béla: Domonkos Fellinger

Ilona : Zita Széles

Sámson: András Schlanger

Judit: Judit Jenei

Sülülü / Göndör: Zsolt Vizkeleti

Milutin / Vas: Zoltán Rák

Géza / Dengez: Gergő Nagyidai

Tivadar: Balázs Varga

Loafers, members of the cabal, a prison guard, alcoholics, discontent people and soldiers:

Bence Belme, Attila Jakab, Tibor Joó, Attila Kövesdi, Zoltán Riczu


Dramaturg: Sediánszky Nóra

Visual design: Vereckei Rita

Choreography: Vámosi Judit

Stage manager: Kováts István

Promter: Kovács Katalin

Assistant to the director: Fülöp Angéla


Text modified by: Krisztián Peer, Nóra Sediánszky, Gábor Koltai M.

Directed by: Gábor Koltai M.


“WHO – Dramaturge Nóra Sediánszky and director Gábor M. Koltai have staged Tiger and Hyena, Sándor Petőfi’s only drama with the help of the poet Krisztián Peer. The theatre company of Nyíregyháza has taken presenting classic works in a contemporary way very seriously and invited such people who are able to present the valuable plays of past ages in the language of today.


WHAT – The play is set in the 1130s in Galicia and Hungary. It is about the possession of power. Béla Vak’s blindness is elevated into a symbol. The text creation, the change in the systems of interest, the political rope-walking, the motives for and techniques of grabbing and dividing power reflect not at all on 1130 but on the constant circulation of the Hungarian past.


WHY – The creators do not rewrite but adapt Sándor Petőfi’s 19th century text, thus the sharpest of the text which sound the most contemporary, for instance, the way the aristocrats keep calling each other traitors of the country or the king’s and queen’s speeches at the meeting are Petőfi’s original lines, as he wrote them in 1846. The division between east and west, the curse of existence seeking a third way, alone or forced into battle (or the fight forced on themselves) seem to be constant elements of the everlasting circle. The production performs it in a very suggestive way. The performance of Tiger and Hyena is not perfect but it is the type of production, both in the social and the artistic sense, which makes keeping state theatres justified. It is worth analízing the figures: 1130 (the time of the plot), 1846 (the year when the play was written), 2013 (the year of the performance) – just observe the progress, if there were any.”(István Ugrai)





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