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Hungarian by András Urbán

Csiky Gergely Hungarian Theatre, Temesvár and Kosztolányi Dezső Theatre, Szabadka Co-production

 

Friday, 10 December, 7 pm

Ódry Stage

70 minutes without a break

Performed in Hungarian

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Performed by:

Emília B. Borbély

Zsolt Csata

Enikő Éder

Rita Lőrincz

Emese Simó

Orsolya Czumbil

Anikó Kiss

Boris Kucsov

Imre Elek Mikes

Emese Nagyabonyi

 

 

Stage manager: András Molnos

Dramaturg: Kornélia Góli

Psychodramatic assistant: Boris Telečki

Masks: Daniela Mamužić

Costume designer: Marina Sremac

Composer: Irena Popović

Choreography: Anikó Kiss

Directed by: András Urbán

Date of first night: 25 May, 2016

 

 

WHO? People who live in a country as an ethnic minority often feel that they neither belong here nor there. They have no homeland of their own. But what they do have is a vaguely defined identity of being different. Who is Hungarian? What does it mean to be a Hungarian? The performance by András Urbán highlights the issues Hungarian minorities face, problems which are sensitive and weighty, also trying to gauge the possible responsibilities.

WHAT? When trying to understand the essence of national identity one often ends up defining it in terms of language identity. There is barely anything concrete beyond that. People living in a minority are defined by the minority and the majority community and, last but not least, the so-called homeland community. They cannot chose to be different since they are constantly burdened with what they are from all directions. Discrimination and a sense of duty makes them face up incessantly with the identity allocated to them, both from the side of the majority group and from the side of their own peers. A person of minority cannot be any different. Yet precisely this paradox makes them still different. They are actually the metaphor of difference. They neither belong here nor there. They have no homeland of their own. But what they do have is a vaguely defined identity of being different. They look at the world through the dual complex of inferiority and superiority. They are subjugated yet look down from above. They want to be accepted and claim the right to be different. Both in the sense of being different in terms of national identity and also as a person who can afford the luxury of difference.

WHY? We have already made numerous efforts to tell in what we are different, in what we are similar and at times, almost a blasphemy, we feed you with all the stuff we believe to be true about you and us – the authors say. Stereotypes, big truths, criticism, the lack, failure or victory of political and social responsibility, here and now are nothing more than inspiration, by no means more important than the message which defies the spoken, the nationally constrained language. If they do not understand this in Hungarian, they will understand it in another way. Hungarian is only understood by Hungarians, anyway. ‘I do not care what it is common in us, or what it is that sets us apart.’ Language, after all, has not been invented for the purpose of conveying national content, but more for being able to voice universal issues, of universal human expression. This is what the performance is about. About a human language. A human, theatrical language. This theatrical action exists in the pre- and post-linguistic state, a language true in its aesthetics, in its poetry. It does not want to tell stories with words, not to be narrable. It defies spoken language, it confronts it.