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of their personalities. To renounce (subconsciously) everything that is not the body. Needless to say, during the rehearsals only. I ask her to remember sometimes our 25th of May parades... This is the first opportunity to do such a production with our four young actors, the production I see also as my own creative act... they surrender, presumably believe also, even if they are not quite sure about it. Without asking questions they undertake their tasks, explore the circumstances and themselves. They know that the text of a drama for me is far removed from what theatre is for me. Hunger, sex, politics, physical effort, ideology, hunger and hunger again, death. For the umpteenth time, history looks improbable and impossible: man is impotent; I don't like that feeling. Szilard Mezei does not create industrialist sound for me, after all. He sets off in his own free jazz direction, with allusions to modern German music. I think this is his best theatre score of all that he wrote and played for me... we read that Brecht waved his proletarian hat at the Russian tanks when they entered East Berlin to"feed"famished workers although ourfriend Paul who is our main supplier of the necessary material, firmly believes that it did not happen because Herr Brecht was not one to wave his cap in the street... I am happy for the actors, I see that it is possible to make an ensemble but it is painful to give up on one's old desires and experiences about the theatre,,. after the first three previews in Accud Theatre we set on a short Berlin tour: a small art cafe in Karl Marx Alley. The production requires a completely dark space, and the café has huge windows. We think about using curtains but then decide against it, even at the production's expense: we'll leave the windows open. Tinda Varga, who was doing the costumes, agreed. She is the most useful person I know when it comes to preserving the purity of the visual conception of a production. Throughout the performance evening lights from the vast alley penetrate in. The former Stalin Alley, with the very same buildings, thus becomes a part of our production-action. People stop, look inside, the audience looks at them, they stay or proceed. Later on, we perform in an abandoned factory converted into an art gallery, an artistic workshop. During the performance one can hear the noise from the opening of a side exhibition. Marta, Andrea, Imre, Arpad are fully focused and so are the spectators. We realise that the circumstances are immaterial to us, that only we and the event exist, and we can even to like what goes around us. Of course, we win, the experience of the performance is stronger, a theatre event is a more forceful reality and that is how we relate to it. The poetry of what goes on. Truly. Andrés Urban SZINHÄZ "KOSZTOLÄMY! DEZSÔ" / THEATRE "KOSZTOLÄNYI DEZSÔ" SUBOTICA Alternative approach, experiment, modernity and honesty - these are the chief features of Kosztolânyi Dezso Theatre in Subotica. The theatre was founded by the local government in Subotica in 1994. At first it worked in the building of the Subotica National Theatre. An important part in its evolution was played by Ferenc Péter and Tibor Szloboda. Since the season of 2006/2007 the theatre's director is Andrés Urban. in November 2006 the theatre opened the season in its own house. The ensemble is comprised of four young actors: Béres Mârta, Erdély Andrea, Mészâros Ärpad and Mikes Imre Elek

BUCKOWER ELEGIEN GEWOHNHEITEN, NOCH IMMEE Die Teller werden hart hingestellt Daß die Suppe überschwappt. Mit schriller Stimme Ertönt das Kommando: Zum Essen! Der preußische Adler Den Jungen hockt er Des Cutterin die Mäulchen.

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