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Béla Pintér and Company: Our Secrets


1 December 2013. 20.00

Szkéné Theatre


115’ without intermission

in Hungarian with English simultaneous translation


Photo: Csaba Mészáros

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István Balla Bán: Zoltán Friedenthal

Dr Elvira Szádeczky, György Pánczél: Eszter Csákányi

Kata: Hella Roszik

Timike: Éva Enyedi

Bea Zakariás: Zsófi Szamosi

Imre Tatár: Béla Pintér

Szujó, Waiter, Pogány: Szabolcs Thuróczy

Ferenc Tatár, Ági: Angéla Stefanovits

Borbíró: György Póta

Konkoly: Gábor Pelva



Gábor Pelva: violin, viola, guitar

György Póta: synthesizer, double-bass, viola


Dramaturg: Éva Enyedi

Costume designer: Mari Benedek

Costumes designer’s assistant: Julcsi Kiss

Stage: Gábor Tamás

Lighting: László Varga

Sound: István Simon

Props: László Quitt

Finances: Gyula Inhaizer

Production manager: Anna Hidvégi

Director’s assistant: Rozi Hajdú

Playwright and director: Béla Pintér


Audience advisory – restricted to adults only.

Premier on 28 September 2013.

Supported by the Ministry of Human Resources of Hungary, National Cultural Fund of Hungary, Szkéné Theatre


“WHO – The 15-year-old company has one of the greatest traditions in the independent theatrical scene. In the past season they have inaugurated a new stage, so now their performances can be seen in Átrium Film-Theatre as well, besides Szkéné. In addition to that, they have established their own audience. Béla Pintér’s unique style and special form world attracts more and more people.


WHAT – Our Secrets is a kind of arrival at the reality of the present day. Not only because of pressing questions like the informer past or human helplessness against its own instincts, but primarily because it shows how every value can turn into its opposite and how power, which finds its way into our everyday life, can make our existence unbearable.


WHY – The amalgamation of personal, professional and state secrets become a kind of historical reader in the performance. The characters of the production set at the turn of the 1970s and 1980s live their lives. The inhumanity of “human-faced” socialism where even “the walls have ears” and the use of emotions and personal tragedies as the basis for blackmail are made credible by the actors’ excellent performances. The production which combines banal with grotesque and realistic elements with fiction reaches to our days recounting the social consequences of the (due to the highest political will) undiscussed recent past. The performance represents the strengths of the company from all sides (direction of plot and acting, movements, music and atmosphere creation). It can be considered a certain cross section of the work of Béla Pintér and Company.”(István Ugrai)





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