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Krétakör: Corruption


29 November 20.00

MAFILM Film Company Studio H


120’ without intermission

in Hungarian with English subtitles


Photo: Máté Tóth Ridovics

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Emőke Kiss-Végh

Natasa Stork

Enikő Börcsök

Tamás Ördög

Sándor Terhes

Balázs Benő Fehér

János Koós

Eszter Bánfalvi

Máté Tóth

Piroska Mészáros

Róbert Rezsnyák


Poems by Gábor Schein, János Térey, Mátyás Varga, Péter Závada

music: Marcell Dargay



Marcell Dargay, Keve Ablonczy, Mátyás Ölveti, Márton Papp, Tamás Zétényi, Benő Fehér, Róbert Rezsnyák, Flóra Matisz, Dia Kiss, Krisztina Lahucsky, Emese Török


Dramaturg: Soma Boronkay

Technical manager: András Éltető

Sound technician: András Bartha

Production manager: Rita Linda Potyondi

Production staff: Eszter Salamon

Costume design: Klára Kalicz

Scenery design: Nóra Takács

Cameraman: Máté Tóth Ridovics

Graphic design: Balázs Sánta

Dresser: Erika Lakatos

Make-up design: Ili Lakatos

Hairdresser: Bankó Andrea

Assistant to the technical manager: Sándor Huszár

Assistant to the director: Vera Blum

Assistant to the costume designer: Luca Dávid

Written and directed by Márton Gulyás



Music and lyrics beside the original music and songs of the performance by Charles Gounod, Ferenc Erkel, Franz Schubert, Róbert Lovas, Flóra Matisz, Iván Szenes and the works of Vándor Kálmán


The author returns thanks for the idioms, phrases, sentences and texts cited in he preformance to:

Aaron Sorkin, Endre Ady, Willimon Beau, István Bibó, Sándor Csányi, David Chase, Péter Esterházy, Vince Földiák, Tamás Fritz, Gabe Newell, Károly Grósz, Günter Grass, Henrik Ibsen, Gyula Horn, László Kéri, Zoltán Kovács, János Lázár, Ludwig Wittgenstein, Michel Houellebecq, Zsolt Nógrádi, Viktor Orbán, Attila Ószabó, Géza Ottlik, Johann Pachelbel, Paul the Apostle, Péter Polt, László Puch, Terence Winter, József Torgyán, László Tőkés, Ulrike Meinhof, Éva Vajda.


Thank you for the support and assistance: András Becker, Tamás Bodoky, Péter Horgas, Vince Földiák, Csaba Mikó, Gáspár Papp, Schilling Árpád and Adrienn Zubek.


Premier: October 7. 2013.


WHO – The new-born Krétakör (artistic director: Árpád Schilling) has become a professional production company, a workshop for all branches of art dealing with the relationship between theatre and society. Márton Gulyás who has been working with Schilling since 2008 and has been an executive manager of Krétakör since 2010 is not only involved in theatre work and management, but he acts as a journalist and as a civilian political activist. Besides discussions within an organized framework (in the NGO Human Platform and the Independent Performing Artists’ Association) he has organized several demonstrations. The most memorable one was the demonstration during the premiere of the choreographer Iván Markó against the special financial support he had received. (The reason for the protest was that Markó’s company alone had been given a direct government support of 155 million forints in 2012, without a tender, while the independent theatre companies could apply for a support of 226 million and the independent dance companies could apply for a support of 211 million forints – altogether.) Among the actors of the production we can find ex Krétakör members, students, free-lance actors and a pop singer, who was especially successful in the previous political system.


WHAT –We see the corruption and the background operation of political mechanisms through one family, the members of which are the representative blueprints of political corruption with the party slush-fund, the man of the street and the crown prince, everything that must exist in a political mafia according to the formula. The performance touches upon all the possibilities for corruption as they appeared in Hungary after the political changes, like the techniques of making public funds disappear, steeling oil and rigging tenders. It also indicates how the agents connected to politics (economy, culture, press) disappear in the quagmire of interests.


WHY – It is the first time Hungarian theatre has reacted in an open, straightforward and even publicistic way to a phenomenon which saturates and putrefies society, public talk, public life, politics and the elites. The offered mixture of genres, a special concentrate of political talk-show, historical play, documentarist theatre and contemporary opera, is able to wrap the contents into a consumable form with a carefully orchestrated musical world which includes every genre from pop music to opera. The production is not secretive about its aim to animate the discourse and to thematise the content – from this standpoint, the opportunity to have debates about the performance is really important.” (István Ugrai)




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