Bea Kovács: First of all, there was a TEST
(extract)
I am really looking forward to Szabolcs Hajdu’s staging with the Maladype. However, I have tried to find out the least about the performance of Ernella’s at Wolf’s in advance, anyway I managed to learn, that it is characterised by the intimacy of a theatre of a flat. It is exciting, because Hajdu’s latest works, the Bibliothèque Pascal and the Peacetime, which he directed at the troupe of Temesvár, were characterised by fantastic things, which have strengthened the existence of viewers’ convention, the importance of accepting the illusion. In contrast to it, the performance on Sunday evening, could become a theatrical experience that way, we have almost forgot about the fact, that we were sitting in a studio, and in a living room of any of our friends or relatives. The Ernella’s at Wolf’s is about the fine conflicted relationship of two families: Ernella’s, who return after a year in Scotland without any savings, suddenly appear at Wolf’s. One and half an hour are about the coming together of the two sisters, Eszter (Orsolya Török-Illyés) and Ernella (Erika Tankó), their husbands, Wolf (Szabolcs Hajdu) and Albert (Domokos Szabó) and their children, Bruno (Imre Gelányi) and Laura (Ágota Szilágyi), especially about the difficulties of it. What can be put into a sudden appearance at midnight, what kind of old wounds are opened up again, what kind of old problems, which maybe have not been mentioned before, can come up here? The financial problems, the happiness and unhappiness, which are experienced inside a marriage, the double nature of vision and reality, are those kind of constant topics in Hajdu’s performance, which are not stated (they cannot be stated) directly, they can just appear by the side talks, by the dialogues on the surfaces or behind them. The performance can become very humorous that its horrific and humorous things can be seen in the perfectly everyday situations, which it works with. The conflicts between the sisters and the husbands, and inside the family, which cannot be solved, are laughably life like, so they do not frighten with the inability of working of our own relationships – by the fact, that they are very familiar, they can ease up the tension: however, we can cry, we laugh instead. The closeness of the stage, the deeply human nature of the relationships, and even the humorous handling of the unharmed taboo of the family can result in a multi coloured performance, experience of performance from the point of view of feelings.
Bea Kovács, TESZT Napló, 2015
(translated by: Veronika Fülöp)
I am really looking forward to Szabolcs Hajdu’s staging with the Maladype. However, I have tried to find out the least about the performance of Ernella’s at Wolf’s in advance, anyway I managed to learn, that it is characterised by the intimacy of a theatre of a flat. It is exciting, because Hajdu’s latest works, the Bibliothèque Pascal and the Peacetime, which he directed at the troupe of Temesvár, were characterised by fantastic things, which have strengthened the existence of viewers’ convention, the importance of accepting the illusion. In contrast to it, the performance on Sunday evening, could become a theatrical experience that way, we have almost forgot about the fact, that we were sitting in a studio, and in a living room of any of our friends or relatives. The Ernella’s at Wolf’s is about the fine conflicted relationship of two families: Ernella’s, who return after a year in Scotland without any savings, suddenly appear at Wolf’s. One and half an hour are about the coming together of the two sisters, Eszter (Orsolya Török-Illyés) and Ernella (Erika Tankó), their husbands, Wolf (Szabolcs Hajdu) and Albert (Domokos Szabó) and their children, Bruno (Imre Gelányi) and Laura (Ágota Szilágyi), especially about the difficulties of it. What can be put into a sudden appearance at midnight, what kind of old wounds are opened up again, what kind of old problems, which maybe have not been mentioned before, can come up here? The financial problems, the happiness and unhappiness, which are experienced inside a marriage, the double nature of vision and reality, are those kind of constant topics in Hajdu’s performance, which are not stated (they cannot be stated) directly, they can just appear by the side talks, by the dialogues on the surfaces or behind them. The performance can become very humorous that its horrific and humorous things can be seen in the perfectly everyday situations, which it works with. The conflicts between the sisters and the husbands, and inside the family, which cannot be solved, are laughably life like, so they do not frighten with the inability of working of our own relationships – by the fact, that they are very familiar, they can ease up the tension: however, we can cry, we laugh instead. The closeness of the stage, the deeply human nature of the relationships, and even the humorous handling of the unharmed taboo of the family can result in a multi coloured performance, experience of performance from the point of view of feelings.
Bea Kovács, TESZT Napló, 2015
(translated by: Veronika Fülöp)