Bitef

Onima koji pošteno i časno rade ono što treba? (Samo ću napomenuti da je to u konkretnom slučaju übistvo!) Hi danas polazi za rukom onome ko se veoma spretno "provlači" kroz život. Dribluje. Danas postoji generacija tridesetogodišnjaka koji su odrastali pored veoma moćnog oca. Hi, pre, pod njegovom rukom i dogiedom. Ovoga oca možemo shvatati kao socijalizam, partiju ili, čak, i sopstvenog konkretnog oca. Iznenada, otac je umro. Otac koji u stvari nije bio onaj najbolji otac. Nasrnula je na nas sloboda. A mi (u Madarskoj isto kao i u Slovačkoj) tražimo načine kako da stanemo na noge. Kako možemo postati samostalni. Kako da nademo sopstveni pogled na svet? Našu sopstvenu ličnost. Kako ćemo uspeti da je izgradimol? Stati na noge kad nam u tome niko ne pomaže?! U ovom komadu je odlično to što u njemu nastupa najmanje pet lica, od kojih bi svako mogao biti Hamlet. Samo što su dospeli u drugu, znatno drugačiju situaciju. Nisu mogli biti Hamlet, već Horacio, Laert, Fortinbras. - Često se govori o različitim pozorišnim kontekstima i poetici pojbdinih kultura. O razllčltostima stilova stvaralaca iz nekih država. Dali vidlte razlike - pozitivne i negativne - pri pogledu na mađarsko i siovačko pozorište, glumlšte? Onako kako ga poznajete iz Budimpešte I kako ste ga mogli doživeti kod nas u Nitri. Nadam se da se na predstavi neće osećati da je režirao mađarski režiser. Da je nastajala u madarskom pozorištu, radio bih je isto. Nema u ovoj predstavi ničeg suvereno madarskog. Granice među državama i kulturama danas su Tridesetogodišnjaci u Budimpešti ili Nitri danas preživljavaju isto ono što mladi ljudi preživljavaju bilo gde u svetu. To su nekakvi globalni problemi i osećanja. Svuda na svetu možete u prodavnicama kupiti tu istu robu, u restoranima pojesti isto jelo. I sada! Sedimo u italijanskoj piceriji. Ja u granice ne verujem. Sa istim stilom i na isti način radio sam u Slovačkoj kao i u Mađarskoj. Ali sam se osećao kao kad sam prvi put režirao. A bio je to za mene veliki doživljaj. Sjajno osećanje kad se glumci iznenade vašim shvatanjem i razmišljanjem o pozorištu: kako vodite probe, komunicirate sa glumcima, "nepredvidivo" postupate. Ali iznenaden sam i ja, Onda kad mi se vrati sigurno poverenje u vrednosti giumaca. Za mene je to radostan i srećan trenutak. Probe u novoj sredini i u novom kolektivu nisu nimalo lake. Ali ovde, u Nitri, odlično se radilo. (I još jedna sitna napomena: slovački glumci kudikamo se lepše "koncentrišu" - usredsreduju - nego madarski glumci) - Pozorište na početku novog mitenijuma mora se obračunatl s mnogim etementima današnje civilizacije i tehnike. Člme, po Vašem mišljenju, može da se sačuva sopstveni smisao, obrazioženje? Čime može zadržati pažnju auditorijuma? Samo time da pozorište prima i reaguje na obližnji svet. A ne time da se pred njim zatvara. Pozorišna specifičnost je to kako ono funkcioniše. Kako preuređuje stvari, pojave koje se u svetu dešavaju. Kad se pred svetom zatvori i tvrdi da je svet površan i da hoće da bude samo nekakav stražar umetnosti, onda postaje mrtvačnica. Nikako ne živi, sastavni deo našeg postojanja.

and style of directing are derived. When this does not occur, i forget about the play. I am actually a purely instinctual man and creator, too much so. I seek out theatrical pieces and problems by instinct, and they appeal to me in plays. I never look for answers in plays. I always look to formulate questions and problems. The decision to approach a certain text is like a longing. It is a question of the right moment. - What is your Hamlet like, then? How do you feel about that play yourself? I tried to provide and offer a family event for the viewers on stage. Today, I am not interested in the social or universal connections to Shakespeare's drama. I do not see drama in this way. I could not direct it in this fashion. I think there is an excess of young people who have suddenly been left without a father. And this all being in a world that is rooted in very peculiar rules. Our world functions very strangely. Dislocationally. These young people are trying to find their own paths and places in this world in different ways. To survive and to have this, by the way, go without difficulty for them... This brings up the question: who has it going without difficulty in life today? Those who honestly and honorably do what they are supposed to? (I will just mention that this is murder in a specific case!) Or is it today that those who "drag" and dribble their ways through life have it going without difficulty? Today, there are generations of thirty-year-olds who have grown-up next to a very powerful father. Or, more likely, under his arm and eyeshot. We may understand this father as socialism, a party, or, even, as one's own specific father. Suddenly, the father dies. The father that wasn't really the best father in the first place. Freedom has overcome us. And we (in Hungary as well as in Slovakia) look for ways to stand on our feet. So that we may become independent. How do we find our own view of the world? Our own personality. How will we manage to build it?! To stand on our feet when no one is there to help us?l In this piece, it is excellent that there are at least five people who could be Hamlet. The only difference being that they ended up in another, drastically different situation. They could not be Hamlet, but Horacio, Laert, Fortinbras. - Different theatrical contexts and poetry of certain cultures are often talked about. About different styles of creators from different countries. Do you see difference - positive or negative - upon looking at Hungarian and Slovenian theater, acting? As you see it from Budapest and as you might have experienced with us in Nitra. I hope that it will not be noticeable that the play has a Hungarian director. Had it been created in a Hungarian theater, I would have done it the same way. There is nothing in this play that is strictly Hungarian. The borders between countries and cultures today are even humorous. Thirty-yearolds in Budapest or Nitra are living through the same things