Ákos Török: Decomposition product
On the Island of Margit there is a path on the Palatinus beach, between the sport fields and the pools. It is an idea against the season, but if somebody puts his towel next to it, he does not have to move and get the whole offer from the left and right hand side: women and men, fat and thin ones, with round and straight shoulders, alone and in pairs, with the big family. Those who are hugging, and quarrelling, the lazy and happy ones, the lovers and haters, with neat artificial nails or bitten fungal nails, the beauty ones and those who are seemed to be beautiful, all permutation of the good, bad and the ugly ones.
On the performance of Maladype Theatre the situation was eerily similar: in one of the room of the base, which has been formed from one of the civilian flats of the eighth district, we are sitting by one of the longer wall, while from the both sides different figures of film history arrive to us. They tell a story, which has started on the bus number 5, about a man with long neck, who is wearing a hat. We cannot even move: originally, there are many of us, but – by making them sitting on tiny chairs – they even push some young viewers on this crowded atmosphere. It is not the Palatinus, but the offered view is not there just to watch.
At that time, in connection with Leonce and Lena Zoltán Balázs has received both good and bad as a director. Bad one (between the others at us too) by telling that the scenes, which have been worked out in more versions, and put next to each other almost in an ad hoc way, cannot form a whole performance. Good one (among the others, from the writer of these lines too), because that playfulness, which has been formed by hard workshop activities becomes a special quality of theatre that is full of ideas, on the stage. It is a fact, that they have torn into pieces Büchner’s play, and from it finally something has been formed, but it was a question that what kind of relationship has it got with Leonce and Lena.
Raymond Queneau wrote the Exercises in Style in 1947 against this structure originally – nomen est omen – tells a story in almost a hundred different styles. However, it is true that they are organised according to a musical-mathematical composition, but this structure, which is both free and fixed, originally over-writes the fact that the performing of the whole play would mean a serious trial for the viewers’ tolerance. So the Exercises in Style has already been separated from different points of view, and now the Maladype Theatre with the playfulness, which is their characteristic, separates on that way that meanwhile something has been built up slowly.
The Godfather can be a film etalon, and Marlon Brando’s head of the family with his harsh voice is well recognisable at once, while he is talking about a man, who he has seen on the bus number five. And then we have not talked about Chewbacca and C-3PO, but it is not evident that all scenes of the performance cites a movie. According to our knowledge of films, this puzzler-finder offer of the performance may prevail better too. Independently of the recognition, the different, typical figures are coming continuously, and they live their different, typical lives, which we can see only meanwhile, they have not finished that exact story.
There are figures far away: Ágota Szilágyi slow walking in patterned green dress (maybe with an umbrella) is not from this world enchantingly, while the other times our stereotypes from the eighth district are represented here. We can be separated from them by continents, or not even by a glass, the figures are always born from the artistic social distancing: they have touchable characters, but they have not got any personalities – they cannot even have in every one and half minutes. There is another offer to play, the viewers can experience these roles from close distance – they can fill them on inside. Above all, the characters have reaction on every noises of chairs and blowing of noses: like in the clever girl’s story, they both exist and do not. Behind the full transformations and very fast dressings, slowly we can see the Enchanting Victim (Ágota Szilágyi), the (Self)Destructive (Erika Tankó), the Aggressive (Ákos Orosz) and the Loser (Zoltán Lendváczky). The four of them, in front of us, together with us, from us – and the performance has been formed that way.
As some objects appear repeatedly (umbrella, knife, gun, book, camera, and so on), sometimes they become exciting playing partners of the actors, then other times they can hardly find themselves, and the scenes themselves are thrown away many times. The great amount of ideas sometimes entertain us with great tricks, then surprise us, then sometimes they are a little bit boring, froze us or make us think them over. The rhythm of their scales and the usage of music seem to be very over thought, the whole performance is a little bit too much and too long. We get tired by the end, and tiredly we cannot play.
According to the story, which is told sixty-six times, later the man in hat is asked, why he has not sewed upper his top button. The performance puts on speaker this why. As for the button, maybe this thing is less important – anyway somewhere they should start it.
Ákos Török, 7óra7, 2015
(translated by: Veronika Fülöp)
On the performance of Maladype Theatre the situation was eerily similar: in one of the room of the base, which has been formed from one of the civilian flats of the eighth district, we are sitting by one of the longer wall, while from the both sides different figures of film history arrive to us. They tell a story, which has started on the bus number 5, about a man with long neck, who is wearing a hat. We cannot even move: originally, there are many of us, but – by making them sitting on tiny chairs – they even push some young viewers on this crowded atmosphere. It is not the Palatinus, but the offered view is not there just to watch.
At that time, in connection with Leonce and Lena Zoltán Balázs has received both good and bad as a director. Bad one (between the others at us too) by telling that the scenes, which have been worked out in more versions, and put next to each other almost in an ad hoc way, cannot form a whole performance. Good one (among the others, from the writer of these lines too), because that playfulness, which has been formed by hard workshop activities becomes a special quality of theatre that is full of ideas, on the stage. It is a fact, that they have torn into pieces Büchner’s play, and from it finally something has been formed, but it was a question that what kind of relationship has it got with Leonce and Lena.
Raymond Queneau wrote the Exercises in Style in 1947 against this structure originally – nomen est omen – tells a story in almost a hundred different styles. However, it is true that they are organised according to a musical-mathematical composition, but this structure, which is both free and fixed, originally over-writes the fact that the performing of the whole play would mean a serious trial for the viewers’ tolerance. So the Exercises in Style has already been separated from different points of view, and now the Maladype Theatre with the playfulness, which is their characteristic, separates on that way that meanwhile something has been built up slowly.
The Godfather can be a film etalon, and Marlon Brando’s head of the family with his harsh voice is well recognisable at once, while he is talking about a man, who he has seen on the bus number five. And then we have not talked about Chewbacca and C-3PO, but it is not evident that all scenes of the performance cites a movie. According to our knowledge of films, this puzzler-finder offer of the performance may prevail better too. Independently of the recognition, the different, typical figures are coming continuously, and they live their different, typical lives, which we can see only meanwhile, they have not finished that exact story.
There are figures far away: Ágota Szilágyi slow walking in patterned green dress (maybe with an umbrella) is not from this world enchantingly, while the other times our stereotypes from the eighth district are represented here. We can be separated from them by continents, or not even by a glass, the figures are always born from the artistic social distancing: they have touchable characters, but they have not got any personalities – they cannot even have in every one and half minutes. There is another offer to play, the viewers can experience these roles from close distance – they can fill them on inside. Above all, the characters have reaction on every noises of chairs and blowing of noses: like in the clever girl’s story, they both exist and do not. Behind the full transformations and very fast dressings, slowly we can see the Enchanting Victim (Ágota Szilágyi), the (Self)Destructive (Erika Tankó), the Aggressive (Ákos Orosz) and the Loser (Zoltán Lendváczky). The four of them, in front of us, together with us, from us – and the performance has been formed that way.
As some objects appear repeatedly (umbrella, knife, gun, book, camera, and so on), sometimes they become exciting playing partners of the actors, then other times they can hardly find themselves, and the scenes themselves are thrown away many times. The great amount of ideas sometimes entertain us with great tricks, then surprise us, then sometimes they are a little bit boring, froze us or make us think them over. The rhythm of their scales and the usage of music seem to be very over thought, the whole performance is a little bit too much and too long. We get tired by the end, and tiredly we cannot play.
According to the story, which is told sixty-six times, later the man in hat is asked, why he has not sewed upper his top button. The performance puts on speaker this why. As for the button, maybe this thing is less important – anyway somewhere they should start it.
Ákos Török, 7óra7, 2015
(translated by: Veronika Fülöp)