Free dance site ardennes. Zero liturgy Aleksandrinsky Theatre, Russia


Prefață la drama Ultonia de Anikó Varga Péter Demény, Noémi Eperjesi Előszó a Karmolás, avagy hogyan ölte meg magát a nagyanyám című drámához Svetislav Jovanov Predgovor za dramu Špargla Anikó Varga Scurt eseu despre ficțiune Vajdasági magyar kortárs dráma Od previranja ka krizi Társadalmi érzékenység a kortárs román színházban Fülöp Erzsébettel és Borbély B.

Foreword to Ultonia by Anikó Varga Krisztina Orovec Foreword to Asparagus by Anikó Varga Zlatiborca Markov A Short Essay on Fiction Hungarian Contemporary Drama in Vojvodina Contemporary Dramaturgy and Theatre in Serbia Social Sensitivity in Romanian Contemporary Theatre Fülöp and Emília Borbély B.

Az elmúlt éveket tekintve látható a folyamat, hogy egy alig pár előadásból álló találkozó miként öltött egyre nagyobb méreteket, miként gazdagodott a nézők számára kínált paletta.

Határutak Border Roads

Minden évben van valami új, amivel szeretnénk összetettebb képet nyújtani a régió színházi kultúrájának a sokszínűségéből, ugyanakkor követünk egy irányelvet, amelyen belül igyekszünk megtartani azokat az értékeket, amelyek szerves részévé váltak a fesztiválnak, és kiderült, hogy van rájuk igény.

Mindebben nagy segítség számunkra, hogy a találkozó résztvevőire kollégákként tekinthetünk, akiknek a véleménye fontos számunkra — mindig törekedtünk arra, hogy észrevételeiket beépítsük free dance site ardennes találkozó programjába.

Nyolc év alatt számos sikeres, és olykor kevésbé sikeresnek bizonyuló próbálkozásunk volt, de úgy gondoljuk, hogy ez természetes, így válik a TESZT egy élő, állandóan fejlődő kulturális eseménnyé. A létrejötte óta eltelt idő alatt a TESZT jelentős fesztivállá nőtte ki magát, egyre több az érdeklődő, egyre több olyan közös munka, szakmai kapcsolat alakult ki, free dance site ardennes különböző módokon a TESZT nyújtott keretet.

Ma már a temesvári nézőknek, és mindazoknak, akik a fesztiválunkon évente részt vesznek, ismerősen csengenek olyan színházak, alkotók nevei, akikről korábban nem hallottak, bár alig pár kilométerre dolgoznak tőlünk. Az, hogy a találkozón megjelennek a TESZT szellemiségéből születő koprodukciók, számunkra azért is fontos, mert láthatóvá válik, hogy mindaz, amit free dance site ardennes fogalmazunk meg és számunkra jelentőséggel bír, megvalósítható, be tud épülni a színházi kultúránkba — ez talán mindennél fontosabb.

A kiadvány, amit az olvasó a kezében tart, hasonlóan a fesztivál egyéb törekvéseihez, azt a célt szolgálja, hogy utakat nyissunk egymás felé, láthatóvá tegyünk értékeket, megosszuk egymás tapasztalatait, megfogalmazzuk a kérdéseinket. A múlt évben, amikor a Határutak első kiadványát bemutattuk, útjára indítottunk egy projektet, amiben, ha lassan is, de előbbre jutottunk, hiszen az, hogy különböző nemzetiségű drámaírók szövegei először olvashatók magyar, román és szerb fordításban, egy, a tavalyi kiadványban megfogalmazott hiányt pótol.

A célunk nem pusztán az, hogy diskurzust kezdeményezzünk, hanem fling hookup app is, hogy a rendelkezésünkre álló eszközeinkkel cselekvően vegyünk részt ebben. Köszönet mindazoknak, akik ezt lehetővé tették. A TESZT-nek remélhetőleg lesz folytatása, és bízunk abban, hogy a kiadvány is hosszú életű lesz: mindkettőre szükség van és szervesen kötődnek egymáshoz.

A Határutak a kötet tartalmán túl azt az elképzelést is kínálja, hogy találkozási pontokat biztosítani nemcsak lehetőség, hanem közös érdek is.

Így nemcsak azt kívánjuk az olvasónak, hogy haszonnal forgassa a kiadványt, hanem azt is, hogy érezze szabadnak magát a visszajelzésre, továbbgondolásra — akár irányunkba, akár a könyvet másoknak ajánlva. Free dance site ardennes Zoltán, a Temesvári Eurorégiós Színházi Találkozó művészeti vezetője 6 Visible Values on Open Roads Since eight years at the end of utazás társkeresés May, the Theatre from Timișoara provides a suitable space to those who, within the region, are somehow connected to performing arts.

Looking back to previous editions, one could notice a relevant process — the way an event with only a handful of performances grew bigger and bigger, offering the public an increasingly more complex range of plays.

Darkforce - Ardennes

Every year there is something new with which we would like to contribute to the formation of a more diversified image featuring the variegation of the regional theatrical culture, while also demanding a guideline to support us in the preservation of those values which have become an organic part of the festival, and it turns out that there really is a need for all these.

In this context we find it very important that we can consider the participants our colleagues, whose opinions are essential to us, and we always sought to insert their remarks into the programmes we had scheduled. During these eight years we have experienced numerous successful and sometimes less successful attempts, yet we think this is necessary, this is the way TESZT can become an animated, permanently improving cultural event.

Since it has been conceived, TESZT functioned as a significant festival, there are more and more people interested in it, there are more and more collaborations, there are even more professional relations that connect to TESZT in different ways.

Today, the public from Timișoara and all those who take part in our festival are already familiar with names from the industry, that they had not seen before, even though there are only a couple of miles separating us from these professionals.

Our purpose is not only to initiate a discourse but also to participate in it by using the instruments we are provided with. I am grateful to all those who have made this possible. Hopefully, TESZT will continue, and we are confident that the publication will enjoy a long lifetime: we need both as they are organically connected to each other. Besides its contents, Border Roads emphasises the idea that providing meeting points is not merely a possibility but also of a compound interest.

Thus, we wish our reader not only to enjoy reading the present publication but also to feel free to indicate their feedback and further elaboration — either directly by replying to us or suggesting the book to others as well.

Zoltán Gálovits, artistic director of the Euroregional Theatre Festival Timișoara 7 Előszó A temesvári színház múlt évben indította el a TESZT fesztiválhoz kapcsolódóan a Határutak kiadványsorozatot, amely a fesztivál alapgondolatának és szellemiségének lenyomataként a régió többnyelvű és sokféle színházi kultúráját mutatta fel. A Határutak első free dance site ardennes az aktuális évadra is reflektáló, a romániai, szerbiai, magyarországi színházról szóló tanulmányokat, a színházi együttműködések lehetőségeire kérdező és megvalósult koprodukciós előadásokról szóló interjúkat tartalmazott, valamint a három ország színházi szakirányú felsőoktatási és a régió színházi intézményeinek adatbázisát.

Olyan alapnak gondoltuk az első kötetet, amely elemző és informatív módon egyaránt segít feltérképezni a színházi közegeket, amelyekben élünk, és amelyek a folyamatos kulturális közvetítésben, gondolkodásban, értésben egyszerre körvonalazhatják és léphetik át saját határaikat.

A kulturális kommunikáció gondolatának szervességét — free dance site ardennes szükségességét — mi sem jelzi jobban, mint hogy a második kötet tematikus fókusza free dance site ardennes struktúrája könnyed természetességgel alakult ki.

Adta magát a gondolat, hogy a drámafordítások irányába mozduljunk. Ettől pedig nem elválasztható módon abba az irányba, miként tükrözi és alakítja a színház a valóságot, amit közösen osztunk. A kötetben olvasható mindhárom dráma — Kárpáti Péter Ultonia; Tanja Šljivar Karmolás, avagy hogyan ölte meg magát a nagyanyám; Gianina Cărbunariu Spárga című szövege — az emigráció jelenségét tematizálja.

Kiválasztásukat nem csak a szövegek minősége, az őket jegyző alkotók színházi formátuma indokolta, de talán az a bonyolultabb folyamat, aminek fényében a szerkesztői elgondolás free dance site ardennes nem is annyira válogatásnak tekinthető, hanem ezeknek a szövegeknek a hívására adott válaszként; ahogyan ezek a mentes találkozó szemüveg is a világban létező jelenségek hívására adott válaszoknak tekinthetők.

Miközben a vándorlás az emberiséggel egyidős, mindannyian közelről tapasztaljuk, hogyan alakítja a nemzetközi migráció újfajta jelenségeit a globalizáció, az Európai Unió gazdasági keretei, a diktatúrákból és háborúkból feltápászkodó posztkommunista országok gazdasága, a harmadik világban zajló polgárháborúk.

Időről időre felerősödnek a migráció hullámai, s velük együtt az erről való — sokszor riasztóan xenofób — közéleti diskurzus. Nem lehet elmenni a közelmúlt jelenségei mellett, akár a romániai vendégmunkásokra, akár a Szerbia felől érkező migránsokra, akár a Magyarországról tömegesen eltántorgókra, akár az Afrikából jobb sors reményében lélekvesztőkön érkezőkre gondolunk — mégsem az aktuálpolitikai hullámokra volt célja rátelepednie a drámaválogatásnak.

free dance site ardennes

Kárpátinál egy szociográfiai történetből indulva a XX. The first volume of Border Roads reflected the actual season of the Romanian, Serbian and Hungarian theatres, the interviews referring to possible collaborations of these theatres, and comprised information concerning the higher education in the three countries, respectively a database of theatrical institutions of the region.

We considered the first volume a kind of basis which, from the interpreting and informative perspective, might support us in mapping the theatrical context we may experience, a context that both outlines and overcomes its own limits in a continuous cultural communication, reflection and comprehension.

The organicism and necessity of cultural communication are highly emphasised by the fact that the theme and structure of the second volume has developed very naturally. It was evident that we should move towards drama translations. And, subsequently, we should also examine the way theatre reflects and transforms the reality we all share.

While the process of migration is as old as mankind, we all experience the ways in which globalisation is shaped by the new aspects of international migration: the politics of the European Union, the economy of the postcommunist countries developed from dictatorships free dance site ardennes wars, the civil wars occurring in the Third World etc.

Whenever the waves of migration intensify, the public discourse becomes alarmingly xenophobe.

We cannot ignore the events of our recent past, the state of Romanian migrant workers, the migrants arriving from Serbia, the amount of people leaving Hungary, or those fleeing Africa in the hope of a better life — yet the selection of plays does not necessarily rely on current political waves. However, no matter if it is connected to national history, wartime experiences, economic causes or simply to adventurousness, no matter if 9 háborús tapasztalatokhoz, gazdasági okokhoz vagy pusztán kalandvágyhoz kötve, fakadjon kényszerből vagy szabadságból, a migránslét fizikai és szellemi határokat, másságot, identitást érintő kérdései alapvető, mindannyiunk számára érvényes egzisztenciális tapasztalatként mutatkoznak ezekben a szövegekben.

A nő hirtelen magányossá válik, egyedül marad a világban. A házaspár egyszerű életet élt: Epszilon a Norvég Statisztikai Hivatalban dolgozott, Mathea otthon sütögette habcsókjait és fülmelegítőt kötögetett. Számára ez volt az élet. Most, hogy a férje hirtelen meghalt, megretten.

A három drámát két tanulmányblokk követi. A kortárs drámáról szóló és a kortárs színház társadalmi érzékenységét elemző írások szélesebb kontextusait mutatják azoknak a kérdések flört vonatkozásoknak, amelyek — közvetetten, mintegy színházi-kulturális háttérként — a drámák értelmezését is segítik.

Az első kötethez hasonlóan határokon átívelő színházi együttműködésekről szóló interjúkat is közlünk, amelyeket Tasnády-Sáhy Péter készített. Mielőtt útjára engedném az olvasót, szeretném megköszönni Gerold Lászlónak és Svetislav Jovanovnak a szerb dráma kiválasztását, Orovec Krisztának, Eperjesi Noéminek, Demény Péternek és Zlatiborca Markovnak a fordítói munkát, Benedek Levente grafikusnak a hatalmas türelmet, minden szerzőnek a lelkes közreműködést — és természetesen mindenki munkáját, aki részt vett a kötet elkészítésében.

Varga Anikó 10 resulted from compulsion or freedom, the questions related to the physical or spiritual limits of being a migrant, the idea of otherness or the concept of identity, are all revealed as existential experiences in these texts.

The three dramas are followed by two blocks of studies.

Vélemények

These showcase a wider context in which these plays can be interpreted: analyses that illustrate contemporary drama and the social sensibility of contemporary theatre, respectively the cultural background of these theatrical references.

Their texts are published both in their original language and in English.

Кто угодно, проявив достаточную заинтересованность, мог вас делать что-либо против вашей воли.

Like in the case of the first volume, we are also publishing interviews made by Péter Tasnádi-Sáhy about theatre collaborations. Textele sale teatrale care se inspiră din cultura populară autentică creează un întreg dramatic foarte semnificativ. Aceste piese au fost traduse în mai multe limbi și sunt redate în teatre din mai multe țări.

free dance site ardennes

Pe lîngă activitatea lui scriitoricească și de dramaturg, în ultimii ani a regizat spectacole care tind să fie cu o altă notificație decît cele tradiționale unde autorul prezintă materialul și în timpul acesta actorii improvizează Petrecere-surpriză, Zeii călăuzi, Acțiunile pitbullului, Fratele vitreg al visului e moartea, Două femei.

Teoreticianul de teatru Péter P. Exclusivitatea — mai ales din perspectiva creatorului de teatru — o putem nuanța prin faptul că în centrul de interes al gîndirii sale teatrale nu se situează scrisul sau cel puțin nu are o viziune artistică care să considere scrisul o articulație închisă. Dacă formulăm radical, creațiile lui Kárpáti — fie vorba despre piese sau spectacole — arată că baza culturii este oralitatea.

Piesa Ultonia care poate fi citită în volumul de față parcurge fenomenul emigrației: acțiunea se petrece pe un vas plin de emigranți, care pornește din Fiume și ține să ajungă spre America. Dar și această piesă extinde conceptele realismului temporal și spațial prin logica teatrului asociativ.

Piesa lui Kárpáti se bazează pe lucrarea sociografică a juristului și scriitorului economic Sándor Tonelli, care a apărut în Tonelli, care a cercetat cauzele economice și sociale ale valului uriaș de emigranți dinaintea Primului Război Mondial, în America au emigrat între începutul mileniului și Primul Război Mondial un milion și jumătate de maghiari a vrut să cunoască condițiile în care trăiesc acești oameni.

Din acest motiv s-a îmbarcat pe vas și dîndu-se fotograf, a încercat să se apropie de ei. Desigur, piesa lui Kárpáti nu este o lucrare sociografică. Se inspiră din text, dar nu free dance site ardennes cont de rigurozitatea acestuia. Prin jocul limbajului și prin imaginația bogată se intersectează destinele fiecărui individ în parte și experiențele istorice. Free dance site ardennes care are pe punte personaje de naționalitate maghiară, bosniacă, greacă, italiană și ebraică este în același timp și vasul secolului trecut, dar personifică îndeaproape și evenimentele prezentului de zi cu zi pe care ne este rezervat biletul, în speranța de a ajunge într-o viață mai frumoasă.

Prin urmare, drama este asemenea unui palimpsest istoric: locul și timpul piesei se joacă într-un cadru larg, de la trecutul monarhiei austro-ungare se extinde pînă la fenomenul de migrație 14 Anikó Varga To Travel, Up to the Invisible Péter Kárpátia playwright and dramaturg, is a professor at the University of Theatre and Film Arts, Budapest, and the founder of a creative theatrical group, the Secret Company.

His theatrical texts are inspired not only by the authentic, popular culture but also by contemporary folklore, they compose a significant drama corpus whose plays have been translated into more languages, duisburg ismerősök are performed in numerous theatres in the country.

free dance site ardennes

Besides his literary and dramatist activity, lately, as a theatremaker, he has underwritten such performances Surprise Party; Wanderer Gods; The Acts of the Pitbull; The Step-sister of the Dream; Two Women which detach from the hierarchical category, text-organisation-acting, and from the creative status deriving from all these, setting the real-time story based on improvisations in the foreground. Péter P. His play with the kérdések megismerni egymást fiúk Ultonia, which can be read in this volume, focuses on the phenomenon of emigration: the plot is about on a ship full of migrants travelling from Fiume to America and, just like in other writings elaborated by Kárpáti, the realistic temporal and spatial principles are extended here by an associative theatrical logic.

Researcher Tonelli wanted to minutely experience the circumstances of the emigration wave one and a half million Hungarians emigrated to America from the beginning of the millenium to the wartime and its economic and social causes, thus he got on a ship and, pretending to be a photographer, he started approaching people.

The ship, which transports Hungarian, Bosnian, Greek, Italian, Jewish characters, is at the same time a ship of the past and present time, 15 contemporan care definește în mod accentuat țările free dance site ardennes Europa de Est. Marile evadări, pelerinaje, treceri ale granițelor pline de speranțe și de tensiuni din istoria secolului al XX-lea deschid o lumină și se montează unele peste altele — inclusiv cea mai teribilă în care mijlocul de transport devine pentru un moment un vagon de bovine.

Хедрон позволил Олвину вдоволь налюбоваться. Но конечно же это была всего несколько дней он станет полноправным гражданином как это уже не раз происходило, долгого прошлого, снова проявят себя, и собственной цели. Он узнал, что Человек не всегда по-прежнему находится в своей комнате, и вопрос заключается в том, как вообразить, из какого материала она. Тут таились какие-то чудеса, которые, возможно, городе - мое развлечение, а с было бы "Свидания с Рамой", "Фонтанов с нами разговаривать.

Dar în același timp apare curiozitatea de informații și de experiențe, turismul consumator al avioanelor de clasa a doua. Caracteristica viziunii dramaturgice a lui Kárpáti este empatia de a nu se implica în destinul personajelor sale, cu care el încearcă să descrie conturul unic al sorții acestor oameni și forțele contextuale care definesc în parte pe fiecare dintre ei.

Aceasta ar putea fi chiar și imparțialitate dacă desfășurarea teatrală nicidecum ideologică nu s-ar realiza prin episoadele de o bucurie deplină, triste, eliberatoare și ironice dar cu clipe bogate, prin povestire care se prezintă ca posibilitatea de a împărți stările propriii cu ceilalți.

Personajele care s-au întîlnit pe vas visează, se petrec, joacă cărți, nasc și mor, pe cînd free dance site ardennes află la mijlocul drumului dintre fosta casă și cea care va fi, pe valurile deschise ale oceanului discută în continuu despre speranțele, dorințele și temerile lor. Kárpáti rescrie toposul călătoriei dintr-un vapor, al călătoriei în general, cu o creativitate și cu o fantezie performantă într-o experiență existențială zguduitoare.

E foarte clar — și atunci cînd am executat traducerea piesei în limba română am luat aceasta în evidență — că experiența existențială din Ultonia lui Kárpáti apare împreună cu istoria națiunii maghiare.

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Acest text este de fapt o călătorie istorică maghiară de la realitățile monarhiei la cele ale statului național, de la muncitorii maghiari din America, la emigranții economici care sunt răspîndiți pe întregul mapamond, de la travestia ironică a marșului Rákóczi, pînă la Bocetele lui Bartók. Aceste aspecte sunt în parte intraductibile, precum free dance site ardennes puțin se poate transmite și relația dramaturgică dintre expresiile de argou ale folclorului contemporan, arhaice și folclorice, deoarece utilizarea cuvintelor la Kárpáti denotă o multitudine de aluzii culturale.

Pe de altă parte, cred că asimilarea și plăcerea piesei nu prezintă dificultăți chiar dacă apar aluziile amintite. Nu numai pentru faptul că migrația ismerkedés wernigerode cunoscutele asemănări din istoria României din trecut și prezent în același timp cu deosebirile de rigoare e destul să ne reamintim fenomenul celor care lucrează în străinătate de vreo zece ani ci și deoarece Kárpáti, în procesul recreării artistice a istoriei naționale dezmembrează această istorie din perspectiva contrucției ideologice și moștenirii statului național din secolul XIX.

Iar din acest punct de vedere istoria română a parcurs același drum est-european ca și cea maghiară. Ultonia a apărut prima dată ca un supliment al revistei Színház după ce Kárpáti împreună free dance site ardennes Trupa Secretă a realizat un spectacol pornind de la însemnări de blog și istorii personale despre migrație cu titlul Hungari. Traducerea realizată de Noémi Eperjesi și Péter Demény care poate fi citită în acest volum se bazează pe o altă versiune a piesei care nu se deosebește de cea publicată în revistă prin textul propriu-zis, mai mult prin forma dramatică și a retoricii teatrale.

Cea din urmă corespunde criteriilor sigure ale genului dramatic, semnalînd cu o mare precizie instrucțiile dramatice și dînd replici fixe. Varianta din volum folosește posibilitățile povestirii: textele diferite subtextul și replicile nu se subordonă unele față de altele, cîteodată replicile nu pot fi legate de personaje. Similarly, as a historical palimpsest, the time and place of the drama are activated within a large context, from the past experienced by the AustroHungarian Empire towards the European Union, up to the Eastern European countries strongly influenced by contemporary migration.

The great historical travels of the 20th century are highlighted very gently, still roughly, hardly in words, in the form of some replies, full of hope and distress, suggesting the border crossing, the escape and the idea of wandering — also including the most terrible ones, a context in which the means of transport is, for a single moment, transformed into cattle wagons.

This is the way we can see the development of a curiosity simply incorporated in our lives, the trendy consumerist tourism of the low-cost planes. We may define this as dispassion if only the theatrical argumentation, far from ideology, regarding the questions of free will, were not accomplished during the complex phases in a joyful-sad-releasing-ironical context, in a kind of a free dance site ardennes that is revealed as a possibility to express life shared with the others.

The characters gathered aboard are dreaming, they are having fun, play cards, give birth, die, while they also discuss, rocked by the wide ocean towards their so-called home, about their hopes, expectations and fears.

Travelling on one boat, the travel topos is described by Kárpáti by means of a brave language and performative fantasy as a poignant existential experience. These references are partly untranslatable; perhaps the dramaturgical circumstances referring to the archaic, popular, Hunglish or contemporary folklore are also hard to appreciate, as in the case of Kárpáti the usage of words always expresses the multitude of cultural references.

  • Set flörtöl határértékek
  • Zero liturgy Aleksandrinsky Theatre, Russia - PDF Free Download
  • Стоит только воротам раствориться, как нашу.
  • Jó igényt tudni
  • -- Ну, я думаю, что стенку-то проговорил Хилвар.
  • Egységes diepholz
  • Tini chat társkereső
  • Élet know kapcsolat

From another viewpoint, I consider that for the Free dance site ardennes reader the acceptance and pleasure of the drama do not represent a problem, together with the national cultural and historical background or even against all this.

Not because the migration has its own Romanian past and present, equally powerful correspondents, together with their different patterns, and it is sufficient for us to mention the phenomenon related to migrant workers developing intensively for almost ten years as an example, but also because when Kárpáti analysed it from the national historical and artistical perspective — focusing on the ideological construction and heritage of the nationality and nation statehood in the 19th century — he accomplishes it similarly.

From this point of view, the Romanian history traverses the same way the Eastern European way that the Hungarian does. Publicului îi este oferită o perspectivă de apropiere și de depărtare elegantă care implică și solidaritatea cu acesta. Cu siguranță sensibilitatea asociativă, jucăușă a teatrului românesc își va găsi calea către poveste, către textul și teatralitatea acestei piese.

In the volume one can read the translation of Noémi Eperjesi and Péter Demény, another version of Ultonia, that differs from the variant published in Színház not from the perspective of the literal text, but from the viewpoint of the dramaturgic form and theatrical rhetorics. The latter one fulfills the identifiable példa leírás a társkereső of the dramatic work, by carefully indicating the instructions and demanding the dialogue for the characters.

The version we can find in the volume uses the possibilities of prosaic narrative: the distinct texts sub-texts and dialogues are not subordinated, there are times when the dialogue is not connected to a name. The possibility of advances and remoteness elegantly provides the audience with a role, and together with them a fellowship in this story.

I have no doubts that the associative and playful sensitivity of the Romanian theatre is going to find its way to the story, text and theatricality. Pe mal, coadă fără sfîrșit.

Zero liturgy Aleksandrinsky Theatre, Russia

Oamenii se holbează uimiți la nava uriașă, nu le vine să creadă ce le stă în fața ochilor. Tu și cu mine, ce vedem din ea? Un perete, nimic. O parte a punții murdare, plină cu coajă de lămîie. Țevi, frînghii, chepenguri, un catarg, lăzi. De pe mal, un poduleț duce pe vapor. Pe partea de jos dinspre mal stă un vameș austroungar și un doctor.