Noémi Marik: The happiness of banality
Szabolcs Hajdu talks about himself as a man of theatre first of all, even if, his successes, well-known nature, can be thanked mostly for his great films. Now he returns to theatre – as an actor, director, writer he marks the performance, which is performed together with the Maladype Theatre, the Ernella’s at Wolf’s.
Hajdu creates the theatre of writer now.
He shows two families, together with their tense relationships, which are in crisis, a little bit tired, but they are connected to one another. These are relationships of husbands and wives, parents and children and siblings. The situation becomes more complicated by the fact that the two families that are connected by blood, are closed together by force for a while, and this closeness can make the other family’s lacks and hypocrisy even bigger.
Even if we look into the others’ lives – we always see ourselves again.
Our own quarrels, failures and doubts. Besides these, through this micro society the nature of a society is shown too. They are talking about emigration, existence abroad, the impossibilities of happiness at home. The truth of the Hajdus’ mirror comes from mostly the personality. They are working with their own and their surroundings’ world of experience.
Above all, they admit about their own everyday lives with funny self-irony. However, in case of some questions they could go even deeper, they could be braver, ruthless, even that way many of their scene touch us deep, because they are so familiar. Hajdu gives not only the importance and meaning of the theatre of a flat, but he runs it to the turbo. Orsolya Török-Illyés’ performance can show the deepness and Imre Gelányi bizarre clown-like child figure, can make even more horrific our facing up with ourselves.
They are laying for a dinner, the father (Hajdu), who has got into crisis, in a merciful moment realises, that among these great amount of fighting and suffering he is happy after all, that the importance can be found maybe between these fighting, banalities and survival. Maybe the performance has been made to confess this moment.
Noémi Marik, Vasárnapi Hírek, 2015
(translated by: Veronika Fülöp)
Hajdu creates the theatre of writer now.
He shows two families, together with their tense relationships, which are in crisis, a little bit tired, but they are connected to one another. These are relationships of husbands and wives, parents and children and siblings. The situation becomes more complicated by the fact that the two families that are connected by blood, are closed together by force for a while, and this closeness can make the other family’s lacks and hypocrisy even bigger.
Even if we look into the others’ lives – we always see ourselves again.
Our own quarrels, failures and doubts. Besides these, through this micro society the nature of a society is shown too. They are talking about emigration, existence abroad, the impossibilities of happiness at home. The truth of the Hajdus’ mirror comes from mostly the personality. They are working with their own and their surroundings’ world of experience.
Above all, they admit about their own everyday lives with funny self-irony. However, in case of some questions they could go even deeper, they could be braver, ruthless, even that way many of their scene touch us deep, because they are so familiar. Hajdu gives not only the importance and meaning of the theatre of a flat, but he runs it to the turbo. Orsolya Török-Illyés’ performance can show the deepness and Imre Gelányi bizarre clown-like child figure, can make even more horrific our facing up with ourselves.
They are laying for a dinner, the father (Hajdu), who has got into crisis, in a merciful moment realises, that among these great amount of fighting and suffering he is happy after all, that the importance can be found maybe between these fighting, banalities and survival. Maybe the performance has been made to confess this moment.
Noémi Marik, Vasárnapi Hírek, 2015
(translated by: Veronika Fülöp)