Bitef

Izbor iz scenskog stvaralaštva: Mis Sajgon, Rent, Bura, Mnogo vike nl oko čega, Magbet, Mletački trgovac, Ketrin sa Hitbrona, Galeb, Priča sa zapadne strane, Baal, Leons i Lena i druge. ROBERT ALFOLDI, režiser Godine 1991. apsolvirao je na studijama glume na Visokoj školi pozorišne i filmske umetnosti u Budimpesti. Profesori su mu bill Istvan Horvai i Dezso Kapas. Iste godine je skrenuo pažnju na sebe ulogom Raskoljnikova. Godinu dana kasnije dobio je angažman u najvećem dramskom ansamblu u Mađarskoj - u budimpeštanskom Vfgszmhazu. Glumačke uloge: Figaro, Ričard 111, Magbet, Raskoljnikov, Kalimaho, Puk, Romeo, Arman, Hari Loman, Amadeus. Ostvario je i nekoliko filmskih uloga. Od 1995, počinje se baviti i pozorišnom režijom. Prva takva režija bila je sopstvena adaptacija Tristana I Izolde, kojom je uzburkao mirnu površinu mađarskog pozorišta. Od tada redovno režira u raznim pozorištima u Mađarskoj. Najčešće u Budimpešti: Vigszinhaz, Kamaraszmhaz i Pesti Szinhaz. Njegove predstave redovno učestvuju na domaćim pozorisnim_ smotrama, a neke od njih su bile pozivane i na festivals (Ceška, Rumunija, Nemačka i Slovačka) gde su dobiie i nekoliko pozorišnih nagrada. Na festivalu Pozorišna Nitra gledaoci su videli sledeće predstave: Galeb, Mletački trgovac i Bura. Godine 2000, rastao se kao glumac sa Pozorištem Vfgszmhaz, a trenutno je slobodni umetnik. Priprema nove projekte (San tetnje noći, Magbet, Ukroćena goropad). Petnaest godina studirao je klavir. Redovno režira na madarskom radiju. Od 1998, stalni je voditelj jutarnjeg magazine "Doručak" na TV kanalu RTL - Klub. Bavi se i slikarstvom. U februaru 1999. imao je prvu samostalnu izložbu slika. Priprema se za gostovanje u New York

ROBERT ALFČLDI, director In 1991, completed acting studies at the Higher School of Theatrical and Film Arts in Budapest. His professors were Istvan Horvai and Dezso Kapas. That year, he drew attention to himself with the role of Raskoljnikov. A year later, he was employed at the largest dramatic ensemble in Hungary - the Budapest Vigszinhazu. Acting roles: Figaro, Richard 111, Macbeth, Raskoljnikov. Kalimaho, Puk, Romeo, Arman, Hari Loman, Amadeus. He has accomplished several film roles as well. From 1995, he began working with theatrical directing. The first such work was his very own adaptation of Tristan and Izolda, with which he shook the calm surface of Hungarian theatre. Ever since, he has consistently directed in various theatres in Hungary. Most frequently in Budapest: Vigszinhaz, Kamaraszmhaz and Pesti Szinhaz. His plays continuously participate in domestic theatrical reviews, and some have even been invited to festivals (Czech Republic, Romania, Germany, and Slovenia) where they have received several theatre awards. At the Theatrical Nitro festival, viewers saw the following plays: Sea Gull, The Merchant of Venice, and Storm. In the year 2000, he parts from the Vigszinhaz Theatre as an actor, and he is now a free artist. He is preparing new projects (A Midsummer Nights Dream, Macbeth, The Taming of the Shrew). He has studied piano for fifteen years. He is a regular director of Hungarian radio. Since 1998, he is the permanent master of ceremonies of a morning magazine "Breakfast" on the TV channel RTL - Klub. He also engages in painting. In February of 1999, he had his first independent display of paintings. He is preparing for a guest visit at the New York Workshop Theater. Selection from theater directings: Vigszinhaz: Tristan and Izolda, Storm Pesti Szinhaz: Kolombina, Fedra Budapest! Kamaraszmhaz: The Merchant of Venice, The Marriage of Figaro. IMPUDENCE, LONGING, THE MYSTICAL... A conversation with director Robert Alfoldi - In Hungary, you are a well-known actor. In recent years, you have presented yourself as a director as welt. What is the difference between the professions of acting and directing? With what does acting fulfill, excite and lure you? Or, conversely: with what does it anger and bug you? And for a change: what is directing to you in this comparison? I see no great difference between acting and directing. Both professions are, they say, found in the epicenter - the very middle of the theater. An actor directs attention to a much narrower space - to his own part. Before, he builds his partial space. Even though it is a more complicated shape in a wider context. And the director - he must set-up a new, all-round world in his complexity. Both professions utilize other parts of