Мосты и подмостки: венгерский фестиваль MITEM как место примирения
26 октября, 2023 Театр
Девиз MITEM — «Не лишай меня моей веры в искусство!»
В основе мирового театра – мир. Об этом убедительно напомнили организаторы десятого венгерского театрального фестиваля MITEM (Madách International Theatre Meeting), собравшего деятелей театра из России, Украины, Германии, Румынии, Грузии, Польши, Франции, Словакии, Сербии и других стран. В этом сезоне Будапешт стал вибрирующим местом притяжения театралов. Удивительным образом столица Венгрии смогла привлечь и вовлечь в свой театральный праздник представителей разных театральных школ, направлений, убеждений, видов и типологий театра. И им здесь не тесно.
Читать дальше“THE OVERCOAT:” A BALAGANZA OF ABSURDITY AND TRAVESTY
22 октября, 2023 Театр
Written by Emiliia Dementsova | 18th Oct 2023 | Georgia, Review, Theatre Olympics 2023
https://thetheatretimes.com/the-overcoat-a-balaganza-of-absurdity-and-travesty/
Photo courtesy of the 10th Madách International Theater Meeting.
The 10th MITEM Theatre Festival continues to showcase the theatre achievements of Hungarian national theatre and productions from other countries. Almost every evening on the stage of the Hungarian National Theatre, whose building resembles an ark of salvation, a variety of world languages are heard and the audience watches theatre productions from the world repertoire. Different genres, schools, acting techniques, director’s decisions, but invariably vivid impressions. One of the guests of the festival was The Overcoat by Griboyedov State Academic Russian Drama Theatre from Tbilisi. The performance, labeled by director Avtandil Varsimashvili as an “Absurd Tale in One Act” involved the audience in the atmosphere of a frenetic and catchy balaganza. No one, however, suffered except for the text of the source material and its semantic background – Nikolai Gogol’s short story of the same name.
Читать дальше“LEANING CHURCH”: THE VOICES OF A VANISHED CITY
22 октября, 2023 Театр
Written by Emiliia Dementsova | 17th Oct 2023 | Czech Republic, Festivals, Review, Theatre and Politics, Theatre Olympics 2023
https://thetheatretimes.com/leaning-church-the-voices-of-a-vanished-city
Photo Courtesy of Těšínské Divadlo Theatre.
This is the story of the Big Bang. Not the explosion that gave birth to the universe. But an explosion in a mine in the Czech town of Karviná (Czech Silesia) near the Polish border. From that explosion was born a universe of pain, as described by Karin Lednická, a native of that town and author of the bestselling book, Leaning Church. This story is written in black and white; literally charcoal on the blackened, whitewashed pages of a history that many would rather forget.
Читать дальше“FEAR EATS THE SOUL”: LOVE IN THE GRIP OF HATE
22 октября, 2023 Театр
Written by Emiliia Dementsova | 11th Oct 2023 | Adaptation, Festivals, Germany, Review, Theatre and Film, Theatre Olympics 2023
https://thetheatretimes.com/fear-eats-the-soul-love-in-the-grip-of-hate/
These two people are separated by history, geography, language, maths, and other school subjects and common truths. But they are united by love. Does this mean something in a society saturated with mistrust, tension, stress, cataclysms, and unlearned history lessons? This is what director Nada Kokotović, following Rainer Werner Fassbinder, tried to find out in the play Fear Eats The Soul (Theater TKO, Cologne, Germany), which was shown as part of the 10th edition of the Madách International Theatre Meeting opening in the Hungarian capital.
Читать дальше“THE BOOK OF RUTH”: KADDISH FOR PEACEFUL LIFE
22 октября, 2023 Театр
Written by Emiliia Dementsova | 9th Oct 2023 | Festivals, Romania, Theatre Olympics 2023
https://thetheatretimes.com/the-book-of-ruth-kaddish-for-peaceful-life/
The 10th edition of the Madách International Theatre Meeting in Budapest coincided with the Jewish holiday Sukkot (Festival of Booths). It is celebrated for seven days, one of which was symbolically marked by a performance of The Book of Ruth, performed in Yiddish by the artists of the State Jewish Theatre in Romania. Yiddish is a language that is buried, foreshadowing its demise. Its speakers have also been buried throughout world history. But they live. And the language lives. It resounds and resonates in hearts.
Читать дальше“GULLIVER’S TRAVELS”: A LESSON IN SATIRE FOR CHILDREN
22 октября, 2023 Театр
Written by Emiliia Dementsova | 8th Oct 2023 | Czech Republic, Festivals, Hungary, Poland, Puppetry, Review, Theatre for Young Audiences
https://thetheatretimes.com/gullivers-travels-a-lesson-in-satire-for-children/
Photo Courtesy of the 10th Madách International Theater Festival.
“The life of man to represent, And turn it all to ridicule, Wit did a puppet-show invent…”,- Anglo-Irish writer-satirist, essayist, philosopher, poet, owner of one of the sharpest feathers in the cap of world literature Jonathan Swift. Is it any wonder that one of his most famous works, Gulliver’s Travels, has found popularity in the marionette theatre. Gulliver’s Travels is an abbreviated title and in a play aimed at children, Swift’s novel appears in a very stripped-down and philosophically devoid form, but it serves as an excellent primer for young minds on the perception of satire. At least, this is how simultaneously childlike and satirically sharp the version of Gulliver’s Travels retold and staged by Jiří Hajdyla at the Těšínské Theatre in Český Těšín as part of BAJKA Puppet Theatre is. I would like to remind you that this unique theatre has three venues – Czech, Polish and children’s. This is a play about the feat and art of being different, different and alien, and about what the road of ignorance, hypocrisy and pride can lead to.
Читать дальшеNICE TO MITEM YOU: THE 10TH EDITION OF THE MADÁCH INTERNATIONAL THEATRE MEETING OPENS IN THE HUNGARIAN CAPITAL
22 октября, 2023 Театр
Written by Emiliia Dementsova | 27th Sep 2023 | Festivals, Hungary, News
Budapest is becoming a vibrant place and proving highly attractive to theatre lovers. All the flags of the world gather here, inspired by the energy and life-giving power of theatre. Surprisingly, the Hungarian capital has managed to attract and involve in its theatre festival representatives of different theatre schools, trends, beliefs, and types of theatre. They are not crowded here. This celebration, which began with the Theatre Olympics, and will continue with the upcoming tenth anniversary Madách International Theatre Meeting (MITEM), is not, however, intended to entertain or distract the audience from serious global issues and challenges. On the contrary, the programme of festivals and events in one way or another addresses the most painful and disturbing issues of our time through the prism of theatre. Old and new forms, classics and acute modernity, harmony and collision, dialogue and debate – all this and always a little more is present in Hungary, which has become a unique point of attraction. In a relatively short period of time, through the efforts of Attila Vidnyánszky, the main organiser and founder, Hungary has managed to make a giant leap forward and become not an ordinary but a significant point on the world theatre map. This is a unique case that is already worth studying at universities that train managers in the field of culture and arts. It is also a story about dreams coming true if you dream big!
Читать дальше«Я предпочту сломать содержание в угоду форме». Режиссер Тарлан Расулов о сути профессии и методе спонтанной игры
27 августа, 2023 Театр
«Я предпочитаю избегать самодостаточных текстов, потому что создавать театральные иллюстрации к произведению мне неинтересно». / Иллюстрация: Даша Левченкова
Специально для Дискурса критик Эмилия Деменцова поговорила с автором метода спонтанной игры, создателем азербайджанского театра dOM Тарланом Расуловым о сути профессии и самосохранении в ней. Почему форма спектакля важнее содержания? Из-за чего режиссерам трудно работать с текстами талантливых драматургов? Как строится обучение без теоретического фундамента? Зачем зрителям участвовать в постановках? Почему жизнь спектакля после премьеры находится только в руках актеров? И кто в театре главный?
Читать дальшеULVIYYA HEYDAROVA: “I SWITCH ON MY COMPUTER, OPEN WORD AND PUT MY HEART AND THOUGHTS INTO ACTION”
11 августа, 2023 Театр
If you have not heard anything about contemporary Azerbaijani dramaturgy, you should definitely start to get acquainted with the texts of the young, but winning the attention of critics and the public author, Ulviyya Heydarova. A screenwriter, playwright, and writer, she is not afraid to take on subjects with strong emotional swings. Her texts do not offer actors and directors simple problems and banal solutions. She brings to the stage strong characters who have experienced catharsis and are not afraid to show their bare feelings. Ulviyya Heydarova’s texts have been translated into many foreign languages and participated in and won theatre festivals and competitions. Our conversation was about her path to theatre, her first theatrical experience, strong heroines, and the peculiarities of contemporary Azerbaijani theatre.
«Леопольдштадт»: театральный мемориал Тома Стоппарда на сцене РАМТа
22 июня, 2023 Театр
Экспозиция музея Катастрофы Яд ва-Шем открывается не чудовищными фотографиями газовых камер и печей, а воссозданной обстановкой кабинета немецкого интеллектуала. В этой комнате ничто не выдает «чужака» или «иного», кроме разве что затерявшегося между книг еврейского семисвечника. От теплого света меноры до жара печей Холокоста XX век провел кратчайшее расстояние – прямую. Соединяя точки собственной биографии, живой классик британской драматургии сэр Том Стоппард лишь когда ему было за пятьдесят, узнал, что все его бабушки и дедушки были убиты из-за еврейского происхождения. Пятьдесят с лишним лет с 1899 по 1955 истории семьи на фоне истории Австрии уместил он в пьесе «Леопольдштадт», имеющей полуавтобиографическую основу. Ставшую обладателем премии «Тони» (пятой в карьере драматурга) в номинации «Лучшая пьеса 2023» и россыпи других наград, «Леопольдштадт» сыграли в «русском доме» Тома Стоппарда РАМТе, имеющем эксклюзивный контракт на постановки по произведениям автора. Режиссер Алексей Бородин, чья стоппардовская трилогия «Берег утопии» обрела эпитет «легендарная», в «Леопольдштадте» показал публике, что происходит, когда мир срывается с берега утопии в ее бездну.
