Bitef

ÄRPÄD SCHILLING

Ärpäd Schilling was born in Cegled in 1974, It studied during five years with L' high School of the Dramatic arts and cinemato- * graphic of Budapest, then raises of Gabor yt- - * Szekely. It finished its studies in 2000. In 1998, I V within the framework of the works of the / M school, it carries out a sulfurous setting in scene of Seal de Brech: revealing talent for I the theatre Coproduit by the Higher School of | Theatre of Budapest Baal receives the pr ce I of the best alternate spectacle al etted by the ■ Hungarian critics. It with this spectacle that the French public discovers the work of Ärpäd Schilling, gu with the National Theatre of Strasbourg within the framework of the Union of the Theatres D' Europe in 1999, then with L' Odeon-Theatre of L' Europe in October In November 1999, it creates Platonov de Tchekhov, with the students of the School the T.N.S. and Public enemy of Istvan Tasnädi D' after Kohlhaas d' Heinrich von Kleist, which receives the Hungarian Price of the critic of the best hope of the setting in scene and which turned in more than 10 countries of Europe like a product of Katona Jozsef Szinhaz. In April 2000, it presents at Katona its spectacle of end of studies house of Bernada Alba de Federico Garcia Lorca, since 2000, year when Kretakör becomes a permanent troop Ärpäd Schilling devotes only to creations of the compa creates at least two spectacles per season. Schilling doesn't accept the conventional; he is always looking for sommething new. (...) He places his actors into extreme situations. In this performance everybody is »dominated by nature«. The instincts win. (...) In the meantime an aeroplane flies above, it starts raining harder; the surly full moon is fighting the clouds. Gabor Rusznyäk's music is howling, the Attila Jćzsef-fragments inserted into the text by Büchner and they don't stick out - have a torturing effect. We can feel the talent radiated by the performance.

KRITIKA O RADNIČKOM CIRKUSU »By the end of the rehearsal period a Buchner's Woyczek was transformed into a mythical world interpretation that is even more abstract than the original, whose system of symbols is based on the interplay of the two elements representing male and female principles.« Daniel Golden: Wilagszam. Zsöllye. December 2001. »W-worker's circus in an interpretation of awareness of life with elementary force...« Katalin Szriics: Woyczek demilitarized. Critical Lapok, 12/2001. »In the one hand, this performance effecting on our atavistic senses is maximal reduction, on the other, however it is a theatre of maximal expressivity. It utterly eliminates the story, which was already incomplete, mosaic and enigmatic even at Büchner. There's no tale, says Arpad Schilling in a tone which allows no reply. (He says rather this way than saying: the great narratives have disappeared, because he has nothing to do with the nonsense of post-modern.) There is no followable plot and justifiable action, there is no psychology and sociology, humans and determinated by no society but

biology, naked, forked (two-armed) animal, just like it was state by a certain William Shakespeare in his desperate moments. What is created by this maximal reduction, the »leftover«, that is the essence itself, or mere existence. It is a peep-show of savages given out, exhibited in public and caged, with its own intensified physicality.« Tamas Koltai: There's no tale, Eiet es Irodalom, December 21. 2001. »Is »W« a good performance? I don't know. It is an important event. It may be the most important event of the century.«

Contribution by Balazs Perenyi, Critical debate Ellenfeny 6/2001. »These young people, mostly in their twenties, who form Kretakör theatre answer with provocation to the world-scandal that is meant to be youth for them. And because they are artist, this provocation is a theatrical one: they create performance(s), that are in 'lawsuit' with the theatrical forms, usual theatrical means, routine audience habits we are accustomed to. And in this endeavor of theirs, they don't spare themselves: in Woyczek, they compel themselves to such a performance that is beyond the usual frames of acting.« Istvän L. San dor: World Scandal, Szmhaz. January 2002. »What appears on the stage appears in its total authentinity, there is no prudery, but there is no unnecessary exhibitionism either. They daringly say what they want, but they don't talk about this audicity. This way of presentation achieves what it wants to say, and it will be always more important than the channel which we are to travel through.« Vera Kethly »The Seventh should be Yourself!« Szmhaz. January 2002. »And killing is beautiful. Woyzeck leans on Marie who is lying on her abdomen, and he tears-rips off her clothes, rapes her, and smothers her to death with sand. And it is beautiful when he puts her in the oil barrel, and he crouches on the top - his mouth opens to scream. It is beautiful, it is so great a catharsis - let's speak about any kind of new of modern theatre - like a horse-kick. And now when I think about it more: it is just as great.« Judit Csakl: Twig of Nothing Magyar Narancs January 24. Whether you like it or not, the performance of the Kretakör Company is a live legend. The critic of Eiet es Irodalom compares its importance to the sometime The Sea Gull of Szekely and Zsambeki. The German and French critics that can be read in the hall declare it no less outstanding than the Woyzeck by Robert Wilson and Tom Waits. The »picture theatre« of the most famous representative of contemporary European theatre is diverging by a row of directional and actorical traditions from the »circus« of the Hungarian director who's trying to create an autonomous workshop. Still, the bodies sublimed into motionpictures and textual statues and the bodies defined by the pulsing energy drawn from everyday cliches and stereotypes are on both sides reacting to the medial experience of the 21st century, according to which »reality cannot be indirectly grabbed not only de facto but also on a matter of principle«. Gabriella Kiss: Testek lazadasa (A rebellion of bodies). Kritika, February 2002.