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The Day of Fury by Árpád Schilling


Sunday, 4 December, 7 pm

Katona József Theatre

85 minutes without a break

Performed in Hungarian with English surtitles



Performed by:

Lilla Sárosdi

Annamária Láng

Roland Rába

Judit Meszléry

Kata Milla Kovács


Music: Krisztián Vranik

Songbooks: Péter Závada

Set design: Borbála Keszei

Technical director: András Éltető

Sound: András Bartha

Assistant: Dalma Sápi

Prompter: Csilla Bereczki

Production director: Edina Schőn

Producer: Linda Potyondi

Written by: Éva Zabezsinszkij, Árpád Schilling and the actors

Directed by: Árpád Schilling

Co-production partner: Onassis Cultural Centre - Athens

Date of first night: 11. November, 2015, Athén, Onassis Cultural Center

30. November, 2015, Trafó – Trafó House of Contemporary Arts



WHO? The internationally known and recognized director, Árpád Schilling, who, following the success of Krétakör, went on to produce his own shows as a director but without his former company, works ever less often for the dramatic stage. The artist, always sensitive to social situations and problems, was inspired this time by the state of healthcare in Hungary. And this is no coincidence. Schilling decided to restructure Krétakör eight years ago from an artistic organization to an NGO, advocating social usefulness. (The organization received one of the most notable European cultural awards in 2016, the Princess Margaret Prize of the European Cultural Foundation.)

WHAT? At the beginning of 2015 an unknown Hungarian nurse spoke up publicly with ruthless honesty about the dire state of Hungarian hospitals, inhuman conditions and unprofessional attitude. This was followed by numerous protests of many thousand people demanding a better health care, but until now, to no avail. The protagonist of Schilling, also politically active himself, is a woman who became known as the nurse in black, who fought for the rights of healthcare employees, who, by speaking out in behalf of his profession, risked his own very fragile existence. The outspoken nurse inspired Shilling’s performance, but he did not use any other aspects of the real story of the woman. The performance is a tragicomedy of the utterly defenceless person. Of the one who does everything to be able to take her fate in her own hands but either because of the external circumstances (changes in economics and politics, supporters failing to act on their promises) or the inner deficiencies (lack of experience and knowledge) she fails repeatedly.    

WHY? In the family of the nurse we can see the characteristics of three different generations, which could be seen as typical treats of generations in a Hungarian family. An old woman grown up in a different regime, who is always wiser than her daughter, never realizes that her experiences are not truly valid in this new world. A reckless teenager with a strong survivor instinct, the nurse’s daughter, who doesn’t care about anything, with the belief that you have to fight tooth and nail for life, believing in nothing and nobody. The main character is a representative of the average Joe, who though tries to trust people around, always ends up alone with her problems. The fascinating story becomes irresistible through the soundtrack and the appearance of some of the beloved former Krétakör actors. Schilling brings to life the otherwise mundane story, the fresh realist acting style speaks of global problems through personal faith. The parable of Day of Fury is not a one-time thing. Schilling speaks about the recent history of the marginalized part of Europe, about one of the most ardent problems of Hungarian society, which brings suffering to not only the healthcare workers but, sooner or later, to each member of the Hungarian society.