Hotel partners:







TÁP Theatre: A Profitable Position

Based on Osztrovszkij’s drama


30 November, 2013. 20.00



120' without intermission


Photo: Dávid Drucker



Zhadov: Krisztián Kovács
Polina: Katalin Gergely
Kukushkina: Kati Lázár
Vyshnevsky: Géza Hegedűs D.
Vyshnevskaya: Natasa Stork
Jusov: Szabolcs Thuróczy
Belogubov: Simon Szabó
Yulenka: Marina Gera
Anton 1: Ádám Schönberger
Anton 2: Ádám Fekete
Anton 3: Balázs Mózes
Anton 4: Ferenc Sebő
Anton 5: Kálmán Horváth

Adaptation: Ádám Fekete
Dramaturge: Kinga Keszthelyi
Visual and light design: Sosa Juristovszky
Costume design: Juhász Dóra
Video, technics: Marci Gábor
Production manager of the TÁP Theatre: Viktória Kulcsár
Director’s assistant: Dóra Kern
Directed by: Vilmos Vajdai

Contribution to the performance: the Puszi Band, Herz Man Choir from Ferencvárosi

Thank you for the support: MasterCard, NKA, TÁP, TRAFÓ, JURÁNYI

Special thanks: contemporary hungarian reality


„WHO – A contemporary dance music band, the ancient alternative, electic and independent TÁP Theatre of eclectic style and Ádám Fekete, the talented student dramaturg from the Film and Theatre University transpose the 19th century Russian drama into the reality of today’s Hungary.


WHAT – The play examines the nature of corrupt clerks and white-collar criminals in good positions, more exactly how their special moral principles, defense mechanisms and self absolution work. After it had been written, the play was banned because it was believed to make fun of civil servants by the censorship. It was only allowed to be staged six years later in St. Petersburg. Ádám Fekete and the TÁP Theatre tells the story of Ostrovsky’s play in a framework of today’s corruption as a public musical show.


WHY – Everything that so far has proven to be a dead end street in society is there: socialism under construction, the unconscious consumer society, corruption and demagogy. And a few wheelbarrows of soil is there to make sure that this is the end. Looking at it from this perspective, the helter-skelter style and the ecstatic show may as well be justified: it reminds us of a country rushing towards its own destruction.”(István Ugrai)





For further information: