Pieces of criticism
,,Out of a group of people with various backgrounds, but with the same aim - to make theatre, - a company formed. They can present the lack of personality with great internal force and the charm of tehir individualities."
Péter Molnár Gál
,, Some will find it difficult to sit through these ninety minutes, but some will suffer from any conventional, dead theatre after seeing it. I belong among the latter."
,,This is a moment of mercy among so many theatre evenings in Budapest. But this mercy also comes with serious conditions. First and foremost is needs a real community which can celebrate this orgy of aesthetics. There is no secret. There is no master. there is a school, there are orphans and there is fatal danger. Being left alone and clinging on each other - one final time during the curtain call. There is Maladype.
"I have recently attended the open dress rehearsal of Ionesco`s Jaques or Obedience at the Roma Parliament, produced by Dragan Ristic, and performed by a (mainly) Roma amateur theatre company. Directed by Zoltan Balazs. Ideally I should list all the participants, which here I cannot do, so let me just mention Ildiko Gyenes` choreography, and Judit Gombar`s set and costume design.
I don`t like Ionesco, I don`t know this particular play of his, I can`t speak the Romani language, I didn`t understand a word; I only understood it as a whole, and that what I saw was theatre.
More than that: good theatre.
The performance was disciplined and full of humility, the mime precise and elaborate, the movement synchronised and executed in unison!!! (the Operett Theatre`s ballet could learn a thing or two from them) The acting as well... as if I was watching professionals (they kept eye-contact, the mimicking was precise, came from within and there was no falling out of roles), speech technique of a high level - even if I didn`t understand the language I could tell; the direction is consistent, logical, it`s rhythm fluent, but it can also hold the silences and still images well; the director feels what metacommunication is, what carries the value of information, his style is unified (not a trace of eclecticism!); the set, the lighting (within the possibilities), the costumes, the music (can and vocal) are all superb. And humour! If one can laugh despite not understanding a word, that`s real humour!
True Ionesco and true Roma theatre. They managed to fuse the ethnic characteristics with the most European of cultures.
This is culture - and of exceptional quality. The majority of the audience was made up of young Roma intellectuals, the heartening replacement, who were good to see, with whom it was great to be, even though there was no cloakroom, the space was tight and airless, and there were only enough chairs to provide for the elderly, the young people were sitting on cushions on the floor. Even a few theatre professionals, true `old foxes` were driven there by their curiosity to see the group. And the Romas are beautiful (this is not politics, nor a public affair, it`s an absolute personal business - a matter of taste. Afro-Americans are beautiful too, but for a long time they didn`t even know themselves, for decades they had to be told to realise that black is beautiful!).
They said `thank you for coming, Akos`. No! I thank them for the evening, for the invitation and for being able to be there. (...)"
Ákos Kertész: A Great Evening: Culture and Handcuffs (excerpt)
Translated by Emma Vidovszky