Programme

A man lying in the sand. Washed up by the waves. There’s no knowing where he came from, where he is heading, what he wants or what he is fleeing from. Somewhere, in a distant land, he used to be king. The Prince of Tyre. But now he is only a man who has nothing but a story. This is Pericles’ story. But not only his.

They live among us. We heard about their stories, we watched it over the news, we heard the neighborhood gossip. They are the ones sitting on the farthest bench in the park, the ones always apologizing, the ones never really looking in other people's eye, the ones with just too much makeup, and the ones we turn away from, because the look in their eyes just makes us uncomfortable. We see them but do we really know them? Have we ever asked them, about the choices they made, about the path they walked, about the battles they fought, about the lingering sadness around them, about the cuts and bruises? About their strength to keep going, to keep breathing, to keep longing for a better life, for a calm destination, for 12A Happiness Street.Let this text be their voices. The unspoken, uncomfortable truth of these women. The performance was produced within the framework of the European project “FemminiCity”, funded by the CERV programme.

Ernesztó is recovering from an anterior cruciate ligament tear. They took away his favourite role at the theatre, and they also took away what had always been his reliable crutch: the euphoria of football. Some crutch, right! But still, who took it away? Life? Fate? As always? Is it possible that he wasn’t even happy before? It’s time to pick up the scalpel! Our hero looks inside himself and sees that the threads lead all the way back to 1994, when, in the Italy–Bulgaria World Cup semi-final, Gianluca Pagliuca steps out in perfect timing to intercept Lechkov’s through ball… But the Grasshopper and the Ant also appear, the golden team of Șimian, a compensation of 50,000 euros, grandma’s leg ointment, and a birthday table bending under the weight of food. Everything is connected – that’s why healing is so difficult.

Ernesztó is recovering from an anterior cruciate ligament tear. They took away his favourite role at the theatre, and they also took away what had always been his reliable crutch: the euphoria of football. Some crutch, right! But still, who took it away? Life? Fate? As always? Is it possible that he wasn’t even happy before? It’s time to pick up the scalpel! Our hero looks inside himself and sees that the threads lead all the way back to 1994, when, in the Italy–Bulgaria World Cup semi-final, Gianluca Pagliuca steps out in perfect timing to intercept Lechkov’s through ball… But the Grasshopper and the Ant also appear, the golden team of Șimian, a compensation of 50,000 euros, grandma’s leg ointment, and a birthday table bending under the weight of food. Everything is connected – that’s why healing is so difficult.

They live among us. We heard about their stories, we watched it over the news, we heard the neighborhood gossip. They are the ones sitting on the farthest bench in the park, the ones always apologizing, the ones never really looking in other people's eye, the ones with just too much makeup, and the ones we turn away from, because the look in their eyes just makes us uncomfortable. We see them but do we really know them? Have we ever asked them, about the choices they made, about the path they walked, about the battles they fought, about the lingering sadness around them, about the cuts and bruises? About their strength to keep going, to keep breathing, to keep longing for a better life, for a calm destination, for 12A Happiness Street.Let this text be their voices. The unspoken, uncomfortable truth of these women. The performance was produced within the framework of the European project “FemminiCity”, funded by the CERV programme.

"The machine is running, the creator rests." This classical line became a sentence and it expresses the compressed definition of modernity: The Creator set the grounds for the World, the Creator placed the Man in it, then they abandoned the Universe wandering in a meaningless, untroubled space. Still, Madách Imre goes beyond this global, mechanical and (from the contemporaries' standpoint) deeply depressing perspective - he understands history to be a satanic nightmare dreamt by Adam with us and for us. Lucifer's protests are in vain, the promise of salvation gives meaning and confidence in human existence. Eva is holding the promised Messiah under her heart - the Lovechild who replaces the dialectics of inventing the enemy and continuous confrontation with acceptance, the opportunity of human condition and its inspiring mission. (Visky András)

"I remember exactly the day I first heard about Cseh Tamás. I was a pupil. Ever since, I have considered him a key part of my personal development. During my master's studies, I gathered the courage to play his songs. That’s how 'Zbor adânc' (Deep Dive) came out. One guitar, one microphone, one singer – in one place, for an hour." - Jancsó Előd"Come on, Zsuzsika, I think I could sing at your theater, it would be a great show. There's the stage, above there's carnival decorations, below a restaurant table and a chair. I’ll sit on that chair and look around, and I could do anything. […] The audience will feel that I’m starting to sing in a special vocal range, and meanwhile, the country, hush-hush-hush, would be rising. I won’t start singing, of course, but the tension will keep growing and we’ll all fly together. 'Zbor adânc' (Deep Dive). That would be the title." - Csengey Dénes – Cseh Tamás: "Zbor adânc" (Deep Dive)."Content warning: the show contains strobe effects."

It is the story of a special friendship. Of the bars that imprison us, that we inherit, that we build for ourselves, that we hide behind for protection, and that leave marks forever. And of freedom, as well. Of childhood, dreams, the endless sky, and the longing to fly. At the heart of this stage adaptation, inspired by William Wharton’s novel, lies the friendship and coming of age of two boys who, at a first glance, have nothing in common. Birdy’s desire to fly and fascination with birds lock him inside the cage of his own mind—a sensitive boy unable to cope with the cruelty of the everyday world. Al, on the other hand, tries to escape the cage of poverty, violence, and a fate he inherited, only to become trapped in his own mind by the horrors he lived through during the war.Will the two boys, through their shared past, friendship, and the rediscovery of one another, find their way back to themselves and, at last, become free?

“It is quite clear that the legacy of Cseh Tamás goes far beyond the actual songs and performances. Just think about it: people do not say, ‘Will you sing a Cseh Tamás song?’, they simply say, ‘Will you sing Csehtamás?’“In any case, I like to believe in a kind of continuity – that creative worlds are connected, that they influence and reflect one another.”Words by Beck Zoli from Sándor Fodor’s book Will You Sing Csehtamás?Something very similar is also the starting point of In all our Dreams. That is how we gathered. All of us would sing. And we will! One by one, together. We celebrate, because that is always possible. This time we celebrate the fact that we can sing, that we can sing Csehtamás, that our creative worlds can influence and reflect each other, that we have dreams, and that there is something that returns in all of them.This is what will happen in the jungle of the House with Lions.“I figured it all out in a laundry room, what it would be.” Cseh Tamás – Ten Years After----The performance was realized with the support of the Pro Teszt Association.

Once upon a time, beyond nine seas and nine lands, there where the map hangs on a nail, where the pig roots about with its curly tail, there lived long ago a poor man by the name of Witty Pete. He was mischievous and forever up to tricks: he poked fun at people, teased them, and joked on and on. But not with just anyone, only with those who deserved it: the vain, the arrogant, the gloomy, the loud-mouthed, the conceited, the braggarts and, above all… Well now, it wouldn’t do to tell everything right from the start. Better you see it with your own eyes!

Ernesztó is recovering from an anterior cruciate ligament tear. They took away his favourite role at the theatre, and they also took away what had always been his reliable crutch: the euphoria of football. Some crutch, right! But still, who took it away? Life? Fate? As always? Is it possible that he wasn’t even happy before? It’s time to pick up the scalpel! Our hero looks inside himself and sees that the threads lead all the way back to 1994, when, in the Italy–Bulgaria World Cup semi-final, Gianluca Pagliuca steps out in perfect timing to intercept Lechkov’s through ball… But the Grasshopper and the Ant also appear, the golden team of Șimian, a compensation of 50,000 euros, grandma’s leg ointment, and a birthday table bending under the weight of food. Everything is connected – that’s why healing is so difficult.

Ernesztó is recovering from an anterior cruciate ligament tear. They took away his favourite role at the theatre, and they also took away what had always been his reliable crutch: the euphoria of football. Some crutch, right! But still, who took it away? Life? Fate? As always? Is it possible that he wasn’t even happy before? It’s time to pick up the scalpel! Our hero looks inside himself and sees that the threads lead all the way back to 1994, when, in the Italy–Bulgaria World Cup semi-final, Gianluca Pagliuca steps out in perfect timing to intercept Lechkov’s through ball… But the Grasshopper and the Ant also appear, the golden team of Șimian, a compensation of 50,000 euros, grandma’s leg ointment, and a birthday table bending under the weight of food. Everything is connected – that’s why healing is so difficult.

The deep forest spring not only represents the point where waters rise and come to the surface but has also taken on a metaphorical meaning: today it is synonymous with untainted, ornament-free, traditional folk culture. Rivers not only separate but also connect the peoples living on their banks, creating opportunities for joint dance events and celebrations. Every nation sings of the refreshing effects of water on the body and soul in its own language.The sequence of dances in the performance begins at the common spring and follows the valuable traces of the dance culture preserved by the nationalities in Transylvania over centuries. The folk versions of medieval and modern dance forms and structures developed in parallel with the evolution of vocal and instrumental music. The rhythmic, persistent beat of the opening image evokes the drumming of the shamanic era, and in the subsequent scenes, the dances with vocal accompaniment move from simpler instrumental setups – violin, gardon – to orchestral setups with string instruments and cimbalom. From the oldest dance forms, such as circle and chain dances, we follow the riverbed, which soon turns into vocal dances, gypsy dances, then progresses to paired processional dances known from the late Middle Ages, and finally leads to increasingly virtuosic solo male dances and more recent paired dances. Among the dances featured are: "pergetés" from Ţinutul Şoimului, "bufaţa", "caluşul", Gyimes’ double step and walking dances, Bucovina silladrul, Mezőméhes sireag, Mezosé’s de-a lungu, pacalkai haidau, and dances from Southern Transylvania and Mureș.The final scene will summarize the most characteristic dances of the nationalities living in Transylvania.

Let’s pretend play…We could easily give this title to the half-hour musical and animation performance. Because everything moves, comes to life, and rejoices under the hands of the four sailors: the soft, colorful shapes transform before our very eyes into a huge whale, a swift seahorse, or a mysterious octopus. Naturally, the game becomes truly real only if everyone takes part in it, children, grandparents, kindergarten teachers alike.“...the sea with its caps of foam is dancing, on the boat so many people keep on prancing…”This interactive musical play is recommended for children aged three and above.

Once upon a time, beyond nine seas and nine lands, there where the map hangs on a nail, where the pig roots about with its curly tail, there lived long ago a poor man by the name of Witty Pete. He was mischievous and forever up to tricks: he poked fun at people, teased them, and joked on and on. But not with just anyone, only with those who deserved it: the vain, the arrogant, the gloomy, the loud-mouthed, the conceited, the braggarts and, above all… Well now, it wouldn’t do to tell everything right from the start. Better you see it with your own eyes!

A grocery store turns into a daily battlefield for its employees: promotions roll out endlessly to keep up with the supermarkets, and from the manager to the shelf stockers, everyone struggles to keep up appearances. While the goods rot, morale crumbles, and the store becomes a survival camp teetering on the edge of absurdity. The business is undoubtedly on the brink of bankruptcy, but can human dignity still be saved? Or is it on sale too?Dead Season. A biting social satire and a human tragedy—two for the price of one, now on special offer.

A grocery store turns into a daily battlefield for its employees: promotions roll out endlessly to keep up with the supermarkets, and from the manager to the shelf stockers, everyone struggles to keep up appearances. While the goods rot, morale crumbles, and the store becomes a survival camp teetering on the edge of absurdity. The business is undoubtedly on the brink of bankruptcy, but can human dignity still be saved? Or is it on sale too?Dead Season. A biting social satire and a human tragedy—two for the price of one, now on special offer.

A színészek számára a rögtönzés nem csupán természetes emberi cselekvés, hanem készségfejlesztő gyakorlat is, amellyel saját határaikat feszegethetik. A négyszereplős, színházi játékon alapuló improvizációs esten a játékmester arra ösztönzi a színészeket, hogy lehetetlennek tűnő szituációkat rögtönözzenek, és mivel csak a képzelet szab határt az abszurd, humoros helyzeteknek, a nézők számára garantált a szórakozás. A több mint 30 előadást megért improvizációs est töretlen lendülettel, hónapról hónapra új témákkal és rengeteg humorral várja az érdeklődőket.

A man lying in the sand. Washed up by the waves. There’s no knowing where he came from, where he is heading, what he wants or what he is fleeing from. Somewhere, in a distant land, he used to be king. The Prince of Tyre. But now he is only a man who has nothing but a story. This is Pericles’ story. But not only his.3h, one intermission

Ingmar Bergman's Cries and Whispers explores the depths of death and family relationships by exposing a tragic period in the lives of three sisters and a servant girl. The question raised by the physical theatre adapted from the film is whether we experience the greatest possible suffering during our lifetime, the afterlife being salvation itself, or whether our existence on earth is a kind of paradise, with punishment for our actions awaiting us after death. Is it possible to avoid suffering, or will it catch up with us all sooner or later?