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Csiky Gergely Hungarian State Theatre of Timisoara

Szabolcs Hajdu: Times of Peace


28, 29 November 20.30

Jurányi Art Incubator House


100’ without break

in Hungarian with English simultaneous translation


Photo: András Nagy

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Deputy mayor, cult leader: Attila Balázs

Entrepreneur at a funeral business, policeman: András Zsolt Bandi

Langermann’s doctor: Emília Borbély B.

Moderator: Szabolcs Hajdu

Langermann’ father and friend: Kiss Attila

Actor, reporter: Rita Lőrincz

Langermann’s girlfriend: Etelka Magyari

Sándor Langermann, writer: Domokos Szabó

Actor, politician: Mónika Tar

Langermann’s mother: Noémi Tasnádi-Sáhy

Langermann’s sister: Orsolya Török-Illyés

and the readers, the members of the cult, the crowd, the beggars, the tumors, the thoughts, the crows, the badgers, a wolf and an armchair


Costume and scenery design: Iuliana Vîlsan

Light design: András Nagy

Stage manager: Éva Kertész

Promter: Marika Czumbil

Light technician: Gidó Zoltán

Sound technician: Baschant Csaba

Assistant to the director: Zoltán Gálovits

Writer and director: Szabolcs Hajdu


Music in the production: Primitiv by John Cage, (1942), Root of un Unfocus (1944), Prelude for Meditation (1944), In the Name of the Holocaust, Pt. 1 (1942), All I Want by Joni Mitchell rewritten by the Company and Szelíd vadállatok, a poem by Szabolcs Hajdu


„WHO – Among the Hungarian theatres in Romania, the company of Timisoara is the most likely to turn to contemporary, progressive and experimental forms. They have invited Szabolcs Hajdu, the director of the films White Palm and Bibliotheque Pascal to stage the production. Hajdu is an outstanding figure of the generation of young film directors who has already won awards at various international film festivals as a director but also as an actor. He rarely directs theatre productions. In his form language he mixes poetic vision with everyday situations.


WHAT – The framework of the performance tells the story of a writer-director who has published a book and is now working on a theatre production, just like Szabolcs Hajdu. Langermann, the introverted writer, however, is not identical with Szabolcs Hajdu (even though on stage they may be identified as distant counterparts), but they have some questions and experiences in common. The unrestrained running of those questions constitutes one part of the performance. The other part is about the story of Langermann’s retiring into himself and becoming lonely both as an artist and as a human being.


WHY – The pettiness of everyday small realism, the breaking up of kitsch, making the unexpected expected – this is the unique humor that operates in the production. It is personal, human, emotional and virtuoso at the same time. Hajdu varies the form with an ingenious talent in this special space, an old flat turned into a junkroom, which appears in a foil tent on the stage. Props have never before been as vivid like the chairs which are prepared to attack: the actors are as good at operating marionette figures as using movement theatre elements. If necessary, prose turns into singing and in every form those who appear on the stage are obvious and convincing. It is real poetic theatre with amazing lights, images, style studies and unrestrained wildness.” (István Ugrai)





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