Bitef

IZBOR IZ ŠTAMPE

„Redateljsko promisljanje je izrazito u bogatstvu detalja, u preciznosti koreografije mizanscena kombinovane sa koreografijom plesa, u mnostvu zadataka za glumce, a sve se to desava u veoma kratkom periodo i zahtijeva veliku izvodacku preciznost. Ovakav tempo odvijanja radnje na sceni vjerovatno bi predstavljao opterecenje u komunikadji sa publikom da glumacki ansambl ove predstave nije posjedovao Izuzetnu fizicku spremnost, preciznost u ostvarivanju glumackih zadataka, lakocu i uyjerljivost igre dokse okolnosti, prostor, situaeije i partner! smjenjuju izuzetno brzo. Glumacki ansambl pojedinaeno, ali i svi zajedno omogucili su da se ovo filigransko redateljsko tkanje realizira kroz igru preciznog gfumackog ostvarenja lika, odnosa spram partnera, situaeije i prostora igre. Dlnamika ove predstave je dinamika Kafkinog kosmara. Histericno smjenjivanje situaeija sivila i retardiranosti birokratije i situaeija erotiziranosti kabaretskih bahanalija mogu se pravdati stihijom kosmara I apsurdom Kafkine potrage. (...) Osnovna karakteristika ove izvedbe je hiperbolizaeija nasih kosmara, podsvjesnih nagona, karikiranje sistema kao nehumanog produkta civilizacije i ismijavanje covjeka u okruzenju, covjeka samog, da bi se sav koncept sveo na nagon, na alogicno." M.L,„Nezavisne novine", Banja Luka „U predstavi pozorista ,Katona'zvanieni mehanizam kod Kafke ima mnogo lica. Svaki iik je bizarni deo mase koja buja, a koju ce unistiti Jozef K. Samlesemenestadoh se zasniva na Kafkinom Procesa, ali je to i originalna i moderna predstava. Jozef K, uhapsen bez krivice, bori se protiv depresivnog i nepravienog sveta i ocajnicki pokusava da utice na svoj zivot. Predstava je izgradena, medutim, pretezno na slikama, a ne na tekstu. Glumci iz Budimpeste navaljuju sa divljim, erotskim i komienim vizijama koje mi moramo da izdrzimo. Parodien! likovi i omamljujuci slapstick u sredistu su posebnog Kafkinog humora. Na pocetku predstave odsustvo tradidonalne dramaturgije deluje cudno ali, kada se navikne na ritam, publika pocinje da uziva u prizorima. Na kraju pronalazimo dubije znacenje; smeh je to sto nam moze pomoci da I dalje opstajemo u svirepom i nerazumljivom zivotu." Jussi Suvanto,„Aamulehti" „Atmosfera vrlo cudnog prostora podseca na film Orsona Wellesa. Poverivsi glavnu ulogu Tamásu Keresztesu Viktor Bodó je mozda imao na umu Anthonya Perkinsa iz Wellesovog filma. Nevinog i bezopasnog momka osuduju neke tajanstvene i neimenovane vlasti... Sve to uz vedrlnu brodvejskih mjuzikla, I nekih pesama iz mjuzikla Kander-Ebba, Jednoobrazna sreca. Slika pijanog, besvesnog sveta kojem uvek preti nasiije. Karnevalska razdraganost nasuprot tragienosti koja vodi u parodiju tragedije. U ovom suludom svetu tradicionalni zannavi i tradicionalne vrednosti vise ne vaze. Svi su igrali sa velikom glumackom radoscu i osecajnoscu." Péter Molnar Gài, Hungarian Theatre Portal

SELECTION FROM THE PRESS

"The director's thoughts were expressed by the rieh detaìls, by thè combination of precise Choreographie positioning with dance and by the loads of acting tasks distributed within a very short period ottime, thus requiring an enormously high level of attention and concentraron by the actors.This pace on thè stage would have probably hindered communication between actors and audience had it not been for the actors' physical preparedness, their precisión in the execution of acting tasks, their ease at authenticity, whiie the space, situations and partners changed with an unbelievable rapidity.The actors both individually and coilectively succeeded in realizing the director's fragile weaving in performance and precise dramatic Interpretation. The dynamism of this performance is created by thè dynamics of Kafka's nightmares. Hysterically changing situations, the backwardness of bureaucracy and thè hedonism ofthe erotically presented cabaret may metamorphose into a nightmare, Kafka's absurd persecution mania. (...) The main characteristìc of this performance is the over-generation of our nightmares. The caricature ofthe System, the Staging of an inhuman civilization and its mockery." M.L,"Nezavisne novine", Banja Luka 'ln thè performance of KatonaTheatre thè officiai mechanism at Kafka is multi faceted. Each character is a bizarre part of a sprawling mass that Josef K. is going to destroy. Rattledanddisappeared is based upon Kafka's The Trial but it is original and modern, as well. Josef K„ arrested innocently, is fighting with thè depressing and unfair world and hopelessly trying to influence his life. However, thè performance is built upon mostiy the Images, not the text.The actors from Budapest are pressing wild, erode and comic visions that we have to stand. Pacodistic figures and dizzying slapsticks centre Kafka's special humour. At the beginning ofthe production the missing of traditional dramaturgy is stränge but getting used to thè rhythm, thè audience take pleasure in the scenes. Finally we find a deeper meaning; laughing is the only thing that could help us in getting on in cruel and incomprehensible life." Jussi Suvanto/'Aamulehti" "The atmosphere of the very curious space evokes that of Orson Welles' film. When Viktor Bodó gave the main role to Tamäs Keresztes, he might have had in mind Anthony Perkins from the Welles film. An innocent and harmful boy is condemned by some misterious and nonnamed authorlties... All this together with the brightness ofthe Broadway musicals. Also some songs from Kander-Ebb musicals. Uniform happiness. The image of a drunk, unconscious world, always threatened by violence. Carneval-like cheerfulness contrasts with tragicality, which leads to a parody of the tragedy. In this crazy world the traditional genres and the tradidional valúes are not valid any more. All acted with great actorial joy and sensitivity." Péter Molnár Gài, Hungarian Theatre Portal"