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Zoltán Balázs has been a new name for me, whose staging activity is the opposition of the one by Béla Pintér, whose theatre uses the accidental things. Neither of the dramas is a light one, which have been performed by the extremely talented Gypsy group. Sándor Weöres, the poet’s dramatic oratorio from 1938, the Theomachia goes back to the Greek mythology. It is about Kronos’ fight with his children. The other one is an adaptation, in the form of oratorio too, based on The Blacks by Jean Genet. Both performances are based on László Sáry’s strong, music on percussion instruments, on Judit Gombár’s well decorated costumes, wigs and masks and on András Szőllősi’s tight and punctual choreography. Zoltán Balázs mixed all these elements, together with the perfect singing performance too, into a elevating ceremony, lasted for two evenings. The director uses all construction stones of the two different but impressive performances to get the amazing effect. Without translation I cannot decide, what are these spectacular performances about (in my opinion the one which puts on stage Weöres’ drama is based strongly on the text), but both of them can prove, that Zoltán Balázs was born to be a new, outstanding talent, who thanks to his firm and individual style can rule perfectly everything on stage.

Ian Herbert: Hallasz engem, Budapest? ford.: Jászay Tamás, Criticai Lapok, 2006

(translated by: Veronika Fülöp)