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Béla Pintér and Company

KAISERS TV, UNGARN

INTERNATIONAL FIRST NIGHT PERFORMANCE

Hungarian with English subtitles

Venue
SZKÉNÉ THEATRE
Date
1 december 2011, 20:00
Duration
110' without intermission
Tickets
2000 HUF
 +36 1 463 2451;  +36 20 384 6049
szkeneszinhaz@gmail.com


photo by Balázs Czitrovszky
Galéria 

Béla Pintér (director, writer, actor) was born in Budapest in 1970 and started as a performer with several leading experimental theatre companies in the ’80s, ’90s including the Arvisura, Artus, Krétakör. He joined Budapest’s Szkéné Theatre in 1987 and created his first production, Common Bondage, in 1998. Then he formed his own theatre company to establish his unique aesthetics of irony, folk art and high-brow culture.

Cast

Éva Enyedi, Zoltán Mucsi, Zsófia Szamos, Zoltán Friedenthal, Tünde Szalontay, Angéla Stefanovics, Szabolcs Thuróczy, Béla Pintér, Györk Szakonyi, László Quitt, Antal Kéménczy

Space Design

Gábor Tamás

Costume Design

Mari Benedek

Costume Desgin Assistant

Julcsi Kiss

Music

Antal Kéménczy

Lightning Design

Zoltán Vida

Sound Design

Tamás Gresicki

Video Technician

Péter Vella

Dramaturg

Éva Enyedi

Marketing Assistant

Gyula Inhaizer

Production Staff

Anna Hidvégi

Director's Assistant

Rozi Hajdú

Directed by

Béla PINTÉR

The performance deals with the contemporary present through the Hungarian past of the time of the Revolution of 1848. It uses ironic humour to talk about political takeovers, unprofessionalism, and the sackings of those previously in power. During a trip through time we get a glimpse into the private life of a fictional hero of the 1848 Hungary's War of Independence. Thirty-three years after his mysterious death, his daughter  transcends time, returns to 1848 and gets a job at the already operating imperial television. Slowly it becomes clear to her that her father wasn’t as flawless as the nation remembers, or the way she imagined. The performance shows us an 1848 period where television is already invented – this way during our virtual journey we can get to know how a television studio operates, how its staff live their daily life.

“There is artistic maneuvering going on stage, because it would be too easy to fall into directness, of someone becoming identical to the real person behind the played character. Of course Pintér – unsurprisingly – maneuvers brilliantly. For a couple of moments the scenes seem familiar, but there isn’t a specific, exact compliance with reality. There are trends. There are figures. All these combined with tabloid narratives reversed inside out, and thus ridiculed.” (István Ugrai, 7ora7.hu)