Ádám Hodászi: Oh my God, he is so sexy
Don Juan can get pussy and money with the great help of the Christian church. He could get it with the help of Nietzsche or Justin Bieberé too – Sándor Zsótér does not make the civilians angry, but he talks about a man, who has built a fake religion from clichés.
On the Maladype Base they can talk only with human voice to the thirty viewers, who are sitting in a circle. In the little room we are in the air, at the gate of the paradise or at the metal gate, which closes the stratosphere from the enemy spaceships, fortunately the great amounts of saints are held by Gala and Dali not to fall on us. The place of the performance is surrounded by the copies of paintings of surrealist painters from under and above too. The location of the happenings seems to be the painting of In the sky by Gala and Dali.
There is a kitschy life-size German shepherd dog and there are two plastic heads of the artificial babies; there are also plaster structures of Jesus, Maria Magdalena and the Virgin Mary. These are the condescended points of the place, this is the sharply ironic summary of the past two thousand years of men and women. Where between Don Juan and Jesus an equal sign is put at the first possible moment, around the tenth gesture of the putting of this equal mark everybody can realise, no matter what kind of, but any kind of statues about saints, ikon, mythical life guard can be imagined there on the place of the statue of Jesus with his opened shirt. The fact that both the saint female statues (lover and mother) and the prophane baby heads can be changed, can talk about the Oedipus complex of the psychoanalysis of Freud and about the fact that for Don Juan in case of love, the perfect harmonic connection of souls and the juice of pussy are the same important. If all of these are important, it means in reality that either anything or nothing can be?
Sándor Zsótér’s staging uses the Brecht-version of Don Juan story, with some adding he brings it closer to the modern lives. These are insolent and characteristic sentences and they fit well into the style of the performance. Similar to the act, when Ákos Orosz opens his shirt as Don Juan. We can see into his heart as he is a transparent person. A transparent one, without any content. He is a large-format clown, who gets settled in Kierkegaard’s aesthetic stadium. Ákos Orosz in a stylist way, self-confidently, with fine movements, powerfully and at the same time gracefully moves his figure, he lets only momentary places for the emptiness, which can seem to be sometimes laziness then sensationalist from the point of view of the other characters. His steady partner and servant are Sganarelle, who is shown to be hard trained by Zoltán Lendváczky.
The other characters are played by four other actors. Rita Kerkay mixes on a master level the female colours, once she is a grey little mouse, then her pupils get wider with some millimetres, then she changes into a wonderful woman with great eyes. With open mouth she is the silly fisher girl, then puts her ankle with some centimetres away, she becomes a heavenly diva. Norbert Nagy and Márton Pallag have many funny roles too, but at the same time, they can get separated from Don Juan’s emptiness at the most important moments.
Erika Tankó’s performances are powerful too, as well as the others. We can feel that the troupe’s collective ideas are in the performance, the bet is high too. Not only because of the reality, into which the performance is built in, where the leaders of the country with the real and pretended using of the Christian values try to organise our lives. (As the actuality of the monologue about the greatness of the tobacco is ingenious too.) After and before the social importance, the actors put their whole personalities on behalf of the performance. With their strong presence, all of them seem to ask questions. Are there any places on the Earth for more than hedonism? Where will the statue of Komtur take us, if there is not hell? Or we perform now that there is a hell? At the end of the performance the song by Kispál, which is known till boredom on the ukulele (If in the life), can take us till the elevation of questions. We can ride our bike home and think about what we have watched. If we have mood to think about it.
Ádám Hodászi, Ellenfény, 2013
(translated by: Veronika Fülöp)
On the Maladype Base they can talk only with human voice to the thirty viewers, who are sitting in a circle. In the little room we are in the air, at the gate of the paradise or at the metal gate, which closes the stratosphere from the enemy spaceships, fortunately the great amounts of saints are held by Gala and Dali not to fall on us. The place of the performance is surrounded by the copies of paintings of surrealist painters from under and above too. The location of the happenings seems to be the painting of In the sky by Gala and Dali.
There is a kitschy life-size German shepherd dog and there are two plastic heads of the artificial babies; there are also plaster structures of Jesus, Maria Magdalena and the Virgin Mary. These are the condescended points of the place, this is the sharply ironic summary of the past two thousand years of men and women. Where between Don Juan and Jesus an equal sign is put at the first possible moment, around the tenth gesture of the putting of this equal mark everybody can realise, no matter what kind of, but any kind of statues about saints, ikon, mythical life guard can be imagined there on the place of the statue of Jesus with his opened shirt. The fact that both the saint female statues (lover and mother) and the prophane baby heads can be changed, can talk about the Oedipus complex of the psychoanalysis of Freud and about the fact that for Don Juan in case of love, the perfect harmonic connection of souls and the juice of pussy are the same important. If all of these are important, it means in reality that either anything or nothing can be?
Sándor Zsótér’s staging uses the Brecht-version of Don Juan story, with some adding he brings it closer to the modern lives. These are insolent and characteristic sentences and they fit well into the style of the performance. Similar to the act, when Ákos Orosz opens his shirt as Don Juan. We can see into his heart as he is a transparent person. A transparent one, without any content. He is a large-format clown, who gets settled in Kierkegaard’s aesthetic stadium. Ákos Orosz in a stylist way, self-confidently, with fine movements, powerfully and at the same time gracefully moves his figure, he lets only momentary places for the emptiness, which can seem to be sometimes laziness then sensationalist from the point of view of the other characters. His steady partner and servant are Sganarelle, who is shown to be hard trained by Zoltán Lendváczky.
The other characters are played by four other actors. Rita Kerkay mixes on a master level the female colours, once she is a grey little mouse, then her pupils get wider with some millimetres, then she changes into a wonderful woman with great eyes. With open mouth she is the silly fisher girl, then puts her ankle with some centimetres away, she becomes a heavenly diva. Norbert Nagy and Márton Pallag have many funny roles too, but at the same time, they can get separated from Don Juan’s emptiness at the most important moments.
Erika Tankó’s performances are powerful too, as well as the others. We can feel that the troupe’s collective ideas are in the performance, the bet is high too. Not only because of the reality, into which the performance is built in, where the leaders of the country with the real and pretended using of the Christian values try to organise our lives. (As the actuality of the monologue about the greatness of the tobacco is ingenious too.) After and before the social importance, the actors put their whole personalities on behalf of the performance. With their strong presence, all of them seem to ask questions. Are there any places on the Earth for more than hedonism? Where will the statue of Komtur take us, if there is not hell? Or we perform now that there is a hell? At the end of the performance the song by Kispál, which is known till boredom on the ukulele (If in the life), can take us till the elevation of questions. We can ride our bike home and think about what we have watched. If we have mood to think about it.
Ádám Hodászi, Ellenfény, 2013
(translated by: Veronika Fülöp)