Bitef

The essential novelty of the W-workers' circus lies in the fact that it presents very strongly, with cruel passion the hierarchy of society and the inhuman, tragic character of this hierarchy. This is more than a fashion of the time, a fashion that desctibes the social mechanism as a machine ruining the human. The performance shows an oppressing system that destroys the weaker. There is another commonplace the play succeeds to surpass: it percepts misery not outside society, in the world of outcasts, of those who cannot fit into the process of social production, but within this world. Laszlö Zappe: Munkäscirkusz a polgarvilägban. (A workers'circus among the bourgeoisie). Nepszabadsag, 2 February, 2002.

him. There is Nothing in him. In spite of everything we were sympathising with Woyzeck, maybe even against his will. The actor comes close, the hero reaches us. He is very close, although the world is against it. Peter Videlky: Szemezgetö. (A digest). Sügo, June-August 2002. The most important happening of the season is the two Biichnerperformances of the autonomous Kretakör Company, led by Arpad Schilling, entitled W- workers' circus and Leonce and Lena. This is the first time for long that a newly graduated director doesn't want to fit into

As the title suggested, the work of Schilling contrains strong elements of a left-side mentality, but this doesn't have a political, or, even less, a nostalgic importance, it has to do with the moral aspect of the condition humaine. It is not connected to the solidarity with the defenceless or the outsiders, or to the presentation of »this happened«, it's much more related to a radical manifestation of »this is it.« The »down-world« of the performance is populated with labourers, known from the recent past, a group that started to be forgotten lately. The W - workers' circus reflects on their condition, not on their way, with a throughly analysing objectivity, using emotionless details. Nyaranta Aranka - Talente Levente: Vägölap. (The cutter). Beszelö, February 2002. It seems that what we were watching was not theatre, not a constructed, invented world, but something real. Maybe it was life itself. The indifference, the unconcern are not catarctic feelings at Arpad Schilling, his own world is not defined by the lack of compassion, this is not a subject to be discussed. He doesn't love. There isn't anything in

the structure of the theatrical world, doesn't want to be the member of a company, but is founding a theatre individually, with a private group. Tamäs Koltai: Nyolchavi erzes. (A feeling of eight months). Jelenkor, June 2002, Arpad Schilling is trying out the limits, he pushes the actor and the audience to the last borderline of endurement. He is digging down to the flesh. Sometimes causes displease. Mistreatment of the actors has sometimes the effect of training, of a directional show. His visions are elementary, the scenes of the performance are really beautiful, lyrical sometimes. In the meantime Schilling is hurling at us the mosaics of a ruined, extremely inhuman world. He makes unpleasant theatre. Gabor Bćta: Hajnalig tarto versenyprogramok »habbal«. (Competition programs up to down). Magyar Hfrtap, 15. June 2002.