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The Case by Tímea Aletta Szíjártó

Szigligeti Theatre, Nagyvárad

 

Tuesday, 6 December, 3 pm and 7 pm

Ódry Stage

135 minutes without a break

Performed in Hungarian with simultaneous English translation

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Performed by:

The woman - Csilla Ababi

The man - Gyula Kocsis

Mum - Ibolya Csíky

Pista - Levente Dimény

B1 - Eduárd Szabó

B2 - Sándor Csaba Brugós

B3 - Áron Beczásy

The happy woman - Réka Fodor

The sour woman - Enikő Kovács

The low-voiced woman - Edit Firtos

The prioress - Ágnes Gajai

The dinkey woman - Dalma Kerekes

The green drayman - Csaba Kiss

The doctor - Enikő Fábián

The nurse - Enikő Kitty Iván

The secretary - Melinda Pitz

The notary - Imre Dobos

Cello - Bianca-Daniela Popovici

Singing - Zsuzsanna Eszter Balogh

 

Stage manager: Zoltán Vajda

Prompter: Katalin Tentea

Composer: László Bakk- Dávid

Choreography: Csaba Györfi

Directed by: Sardar Tagirovsky

Date of first night: 21. September, 2015

 

 

WHO? Kazan born Sardar Tagirovsky, who lives, however, in Hungary, is an actor, puppeteer and director at the same time. The young artist, in spite of his age, has been trained in numerous places from Rome to Târgu Mureş, to bring colours to refresh the form language and attitudes Hungarian directors across different generations. 

WHAT? How much attention is given to a case beyond the fact that we read or hear about it? How many cases unfold in our everyday lives, which could change everything in an instant? By the way, what does even qualify as a case? In Tagirovsky’s performance The Case, the characters are looking for happiness in their dull lives, but are somehow always missing that next step. The drama of hopelessness is staged, the protagonists of which are desperately looking for the opportunities of escaping the misery which is choking them. Will they ever succeed? This is the true stake of the performance. The show was made using the prize-winning text by Aletta Tímea Szíjártó, a young Hungarian woman playwright. Why are we afraid to come up against our desires and why do we shy away from representing them in the family, at work or in the world at large? Can we grasp the humane moments born between actor and spectator? Or will everything just remain a case which we call theatre? The case is more than a case.

WHY? The performance presents an atomized society, a typical East-European village, where everyone is a looser, where it is the ground rule that man is a wolf to another man. There is yet a glimmer of hope between two people who seem to be able, through some sort of a miracle, to be in love with each other even in this barren world. Of course, tragedy will happen to them, as a rule. In Sardar Tagirovsky’s performance the company has built a life-affirming ballad even from this story, and, even if according to the story one cannot rejoice in anything, still, it claims that all things that exist cannot be without a reason. The play, just like the world and human will of life, presents not only a story which can be told, but also dips us in a myriad of sensations, giving up all claims of soberness.