Róbert Balogh: Glazed eyes
I went happily to the Leonce and Lena performance by Maladype, as I have seen Zoltán Balázs’ previous performances I do not have to ask that on what way and why this performance, which I saw, would have been made.
Instead of the tunnel vision, which is offered by most of the performances on the competition of POSZT, I got into a system of connections, where I could redefine again and again where I am. The stage is made of a white surface and bamboo sticks, which are pushed into the holes on the ground. The frame of the performance was given by the classical play, the others were brought by the performers.
As I was sitting in the first line, I could take photos of the acts, which were stressed, for me (I have asked permission for it). The interactivity was hardly more than an illusion, the viewers could ask the repetition of scenes in different genres. Leonce and Lena was a physical, mental and acting performance, which has sometimes ironic, lyric then cathartic effect. Besides the repetition of scenes - inside variations - the most important one was that the actors told about themselves. What are they interested in, which they reflect on from the world - musical trends, idiotism, theatrical techniques - and they have formed them into a performance with such a high standard, which I have never seen during the history of the IX. POSZT.
Such a clean performance on Hungarian stages I have seen by the Hólyagcirkus and Béla Pintér’s Troupe (before). During the real interactive part of the performance they involve the viewers too into the play, they choose a Leonce and Lena from them, and make them a married couple (which is relevant as according to the original text the couple get to know each other on their wedding).
It was a special joy for me that from the ones who were sitting in the first line they chose me to be the prince and I had to get married. From the left, Hermina Fátyol, from the right, Kamilla Fátyol held my hands and pulled me on the stage from here and there. The glazed eyes have come from it.
The actors would appreciate just praises: Éva Bakos, Hermina Fátyol, Kamilla Fátyol, Katalin Simkó, Ákos Orosz, Zoltán Papp, Zsolt Páll, Ádám Tompa. As the other performers did too, Kornél Mogyoró behind the percussion instruments, the assistants: Péter Tóth, Mirella Mátrai, the designer of sets and costumes: Judit Gombár, the dramaturg: Judit Góczán and the director: Zoltán Balázs.
They have got the grand prize of POSZT according to me.
Róbert Balogh Róbert, terasz.hu, 2009
(translated by: Veronika Fülöp)
Instead of the tunnel vision, which is offered by most of the performances on the competition of POSZT, I got into a system of connections, where I could redefine again and again where I am. The stage is made of a white surface and bamboo sticks, which are pushed into the holes on the ground. The frame of the performance was given by the classical play, the others were brought by the performers.
As I was sitting in the first line, I could take photos of the acts, which were stressed, for me (I have asked permission for it). The interactivity was hardly more than an illusion, the viewers could ask the repetition of scenes in different genres. Leonce and Lena was a physical, mental and acting performance, which has sometimes ironic, lyric then cathartic effect. Besides the repetition of scenes - inside variations - the most important one was that the actors told about themselves. What are they interested in, which they reflect on from the world - musical trends, idiotism, theatrical techniques - and they have formed them into a performance with such a high standard, which I have never seen during the history of the IX. POSZT.
Such a clean performance on Hungarian stages I have seen by the Hólyagcirkus and Béla Pintér’s Troupe (before). During the real interactive part of the performance they involve the viewers too into the play, they choose a Leonce and Lena from them, and make them a married couple (which is relevant as according to the original text the couple get to know each other on their wedding).
It was a special joy for me that from the ones who were sitting in the first line they chose me to be the prince and I had to get married. From the left, Hermina Fátyol, from the right, Kamilla Fátyol held my hands and pulled me on the stage from here and there. The glazed eyes have come from it.
The actors would appreciate just praises: Éva Bakos, Hermina Fátyol, Kamilla Fátyol, Katalin Simkó, Ákos Orosz, Zoltán Papp, Zsolt Páll, Ádám Tompa. As the other performers did too, Kornél Mogyoró behind the percussion instruments, the assistants: Péter Tóth, Mirella Mátrai, the designer of sets and costumes: Judit Gombár, the dramaturg: Judit Góczán and the director: Zoltán Balázs.
They have got the grand prize of POSZT according to me.
Róbert Balogh Róbert, terasz.hu, 2009
(translated by: Veronika Fülöp)