Bitef

Onog trenutka kad su robfjasi prihvatili usiov - zalog koji im je ponudila uprava zatvora već su upali u moralnu dilemu koju ni sami nisu prepoznali, upali su u klopku kao što i mi obični ljudi možemo upasti kad se, na primer, suočimo sa problemom da li da prihvatimo, i, ako prihvatimo, koliko smo izmanipulisani šemama ponašanja, mogućnostima karijere I drugim alternativama prilagođavanja koje nam je ponudilo društvo. U ovoj predstavi Dostojevskog moralna dilema postaje životna situacija puna dramatičnih uloga. Naša predstava zapravo traži odgovor na pitanje da II je mogućno pokajanje, a preko pokajanja (kazne) da II je mogućno pročišćenje I smirenje. Ima li to smisla I kakav mu je smisao ako i za zločince I one koji to nisu, u životu postoje samo sudovi i nesreca? BUDIMPEŠTANSKO KAMERNO POZORIŠTE Budimpeštansko kamerno pozorište je 1990. godine formiralo novu grupu na nasleđu Narodnog pozorišta i stvorilo novo, veoma popularno, takozvano porodično pozorište u Budimpešli. Na kraju sezone 1997/98. pozorište se oprostilo sa svojom starom glavnom scenom i otvorilo novu na "Budimpeštanskom Brodveju" u centru grada, u predivnoj, "art-nouveau" zgradi Pozorišta “Tivoli”. Ta nova lokacija sa 150-200 mesta pruža neograničene mogućnosti za izvođenje na promenljivoj nekonvencionainoj sceni, gde nema kraja kreativnosti već do izražaja dolazi mašta umetnika. U dva studija: Ericson Studio i Shure Studio, na dve susedne scene, svaka sa 80 mesta u centru grada, izvode se eksperimenti, klasici na novi način i daje šansa mladim pozorišnim stvaraocima da pokažu sopstvene ideje i oprobaju novi način pozorišnog stvaralaštva. Uprava vrlo rado angažuje mlade talentovane umetnike koji su tek završili pozorišnu akademiju, na taj način stvarajući novi umetnički tim, sa umetničkim direktorom na čelu. Maštovitost uprave poklopiia se sa ukusom publike, kao i pozorišnih kritičara. I produkcija, i tvorci i izvođači dobitnici su nekoliko nagrada u Madarskoj i inostranstvu. Kompanija je vrlo brzo prešla granice Mađarske i dvadeset šest puta za 10 godina pojavila se na razlicitim evropskim scenama i medunarodnim festivalima, s velikim uspehom (Španija, Nemačka, Austrija, Holandija, Slovačka, Češka Republika, Rumunija, Bosna, Danska, Engleska, Sjedinjene Američke Države). Uprava je svesna značaja upoznavanja madarske publike sa medunarodnim pozorišnim životom, pa stoga kompanije iz raznih zemalja poziva na gostovanje u Madarsku (Poijska, Rusija, Češka Republika, Engleska, Nemačka i engleska kompanija trajno smeštena u Budimpešti). U Kompaniji radi umetničko osoblje angažovano po sezoni. Njihov repertoar se sastoji od dvadeset pet komada i premijerno prikazuju deset novih predstava u sezoni. Kompanija tradicionalno održava najbolje produkcije iako su na repertoaru četiri-pet godina, tokom kojih naiiaze na povratnu reakciju publike i članova “Kruga prijatelja".

realizes that Zsoltar, a hired gun, agreed to direct the piece only because he wants to have revenge, (that is, to kill again) when he is set free, Amper tries to leave the game. Or Madona, who truly fails in love with Amper and Borotov during rehersals. While role-playing, the convicts develop true emotions. Essentially, every actor undergoes a special proccess of searching and experiencing catharsis, right there, on the stage. The moment the convicts accepted the condition - the pledge that the prison authorities offered them - they have already fallen into a moral dilemma which they did not even recognize. They fell into a trap into which any of us, ordinary people, might also fall when, for example, we face a problem of accepting or not accepting, and if and when we do, to what degree we are manipulated by patterns of behavior, the possiblities of carreer and other alternative adjustments that society offers us. In this play, Dostoyevski's moral diilemma becomes a life situation full of dramatic roles. In fact, our play seeks to answer the question of whether remorse is possible, and whether spiritual clensing and peace of mind are possible after remorse and punishment. Does this make sense, and what sense is it if, for criminals as well as innoccent people, there is nothing left in life but judgment and misery? THE BUDAPEST CHAMBER THEATRE The Budapest Chamber Theatre formed his new group on the heritage of People's theatre in 1990 and created new very popular so called family theatre in Budapest. The end of season 1997/98 the theatre farwelled its old mainstage and opened the new one in the "Budapest Broadway" in downtown the marvelous "art-nouveau style" building the Tivoli Theater. This new venue with 150-200 seats gives endless possibilities for performing on variable unconventional stage where no limit of the creativity but the imagination of the artist. Ericsson Studio and the Shure Studio the two next door studio stages with 80 seats of each in the center of the city performs experimentals, classicals by new way and gives chances for the young theatremakers to show their own ideas and taste new way of the theatremaking. The management is keen on to contact young talented artists just from the Theatre Academy setting up a fresh artistic team with them and the artistic director. The imagination of the Management met with the taste of public and also the theatre critics and both the production and the creators and performers was awarded several prizes in Hungary and abroad. The company passed the border of Hungary very soon and appeared on different European stages and International Festivals with great success 26 times for ten years (Spain, Germany, Austria, Netherland, Slovakia, Czech Republic, Romania, Bosnia, Denmark, England, USA). The Management knows the importance of presenting international theatre life to the Hungarian public inviting guest companies from different countries to Hungary (Poland, Russia, Czech Republic, England, Germany and give permanent home a Budapest resident English Company). The company is working with a season contrasted permanent