Attila Vidnyánszky asks: Do not direct Mephisto

’Robert Alföldi’s National Theatre is liberal’

31st of January 2013

The end of February, the National Theatre future director Vidnyánszky Attila met all the artists of the, who in online edition of The People's Voice interview also talked about that the other actors are called to Debrecen in the national, has been said to be there. He also requested that the season is scheduled for the end of Mephisto's lecture is not to be born.

Vidnyánszky calls for the show in May, Mephisto has been designed not to draw, because several players indicated that you do not want to stay in the Nation Theatre, but it will not be able to play the show. "Before you attack me, indicate that: this kind of rational reasons to leave you at the time of presentation of two Tamás Jordán, to facilitate the transition of Alföldi" - said Attila Vidnyánszky.

He spoke about that Tamás Ascher, and Zsámbék Gábor, Gábor Szekely are invited to direct in the National Theatre, but did not undertake the work, said it was not clear denial, but rather a kind of prudence, which respects, the story is not finished. 

Attila Vidnyánszky considered: Robert Alföldi’s liberal National Theatre thoughts focused on theater, the audience also made a political demonstration, which is not primarily have to do with the quality of the performances.

The Director - line lectures for those that have not been seen before - you will find: in the National Theatre, there are better and worse performances, but feel that they are not any significant change in proportion than what the critics advertise. He spoke well: he will also be expected to present a professional troupe members a range of belief that superior talent. But you may be excluded from national, the industry will be to price them - he added.

The Secretary of State, previously mentioned in an interview that the Pesti Magyar Színház possibly amalgamation of the National Theatre of service. "An independent, national youth theater I can see the justification status, do not know how healthy it would be to link the Nation With its" - said the issue Vidnyánszky Attila.

He said: in reality there is no suggestion that he would Tamás Ascher, the Theatre of the University Rector's successor will soon be retiring. Whether to retain the leadership of Kaposvár University Theatre Institution, said two similar types of waste to maintain a course of study. If the changes in Kaposvár training so that complex classes are created, learned together with set designer, playwright and actor, it makes sense, its role is still in question.

About the Presidence of Magyar Teátrumi Társaság Vidnyánszky Attila said: election of officers held a general meeting in the spring, I think there will be changes in relation to the person.

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Imre Kerényi: We were figurants in the National Theatre’s competition

27th January 2013

’The left-wing has to experience what it feels like when there are no sources in their hands’ - said Imre Kerényi (director, prime minister representative) in the Csatt! debate on Friday in which he talked to András Bencsik (editor of Magyar Demokraták), György Vári (reviewer of Magyar Narancs and ÉS) and Kulka János (actor) about the hungarian cultural life.

Imre Kerényi answered János Kulka’s question: The representatives of the rightists did not have opportunities for eight years because the leff-wing led culture depressed them. According to the prime minister representative the left-wing party has to be familiarized with that there will be seven years for them culture policy.

First of all István Hiller’s (former Minister) assertion was recalled that in the eighties hungarian artistic life was freer. András Bencsik did not agree with this he considered that only one kind of culture exists in this country but the interest are different. György Vári commented the idea in turn: land acquisition is going on, cultural institutions are stocked up with reliable cadres they treat the culture as fief. György Váci believes that this is the same what László Simon (under-secretary) proposed: instead of tendering in some cases appointment is more comfortable. Vári also spoke about that it was a mistake to appoint György Fekete to be the head of Magyar Művészeti Akadémia. András Bencsik accepted but did not share the opinion, he thought there is no culture war in Hungary but the changes will inevitably violate human sensitivities.

Imre Kerényi praised László L. Simon’s suggestion and turned to János Kulka said in connection with the National Theatre’s project that: ’We all know that this tendering is an unnecessary theatrical circus.’ (…) For exampla there is your project. I was there and I know we had no role, we were just figurants, it was the ’comedy’ of DEMOCRACY. He also said the Művészeti Akadémia was established so as to remove the burden of ’arts organization’ from the shoulders of goverment but the initiative is still in its infancy, there are surely problems in the organization that we will solve by distribution and it will not hurt. He also said that ’there are two kind of culture’ and the ’national culture’ is strengthening. Since 1949 the cultural life has been left-liberal territory. That is why I think it is not worth that György Fekete is hurt. The natural values is important for us. There are artist for whom values are important and there are for whom this is less important’ - added ministerial representative who Egon Rónai (presenter) asked whether the rumors were true that Enikő Eszenyi wants the National Theatre for herself if her mandate expires. Kerényi definetely stated he will not be the director of the Teátrum and added: ’I got over the theatre’. Then he remarked: ’I think Robert Alföldi will get a theatre!’

Professional reportedly raised that Robert Alföldi could continue his work in Újszínház but the head of Népszabadság stated: ’There is no situation in which it is not worth to talk about terms.’ For the question whether he is offended or not he could work in an other place or not Kerényi answered: ’Let’s say he is offended. Wait, I am not. The hungarian theatre lost more than me. Maybe it is boastful to say like this. Of course there are bad moments it will be terrible to leave and to look into people’s eyes. But this is still away on the other hand wonderful things happened to us and as a responsible leader I would not continue just because of my interests but because to keep the staff together to let people see our productions.’ - said Robert Alföldi. 

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Robert Alföldi achieved: The system could not stand the 'theaterhunger'

28 th January 2013

The line reached Nagymezõ Street when people wanted to buy ticket in the ticket office in Andrássy út and it swerved back to the pedestrian crossings of Andrássy út. The tickets can be purchased from now on for the March shows. The first person was said to be there before half past seven. He was lucky because he was served quickly. But soon after the system collapsed due to the huge crowd.

 People stromed the ticket office of National Theatre

Zsolt Reviczky - Népszabadság

Gábor Ordódy (the leader of the organizing) told our maganizen half past ten: Though he does not see the ticket system, probably there are no more tickets for Seagulls and Hunting Scenes from Lower Bavaria in March. Anyway National Theatre limited the number of purchasable tickets for the shows performing in a special auditorium and in the studio. Apparently these tickets were sold out the fastest.

There was who wanted to buy ticket not only for himself but for his friends. We met a teacher who was assigned to buy tickets to a class. Possibly they will not see the show (written by Csekhov) in March.   

Who we talked with say they do not go to theatre because of the change management. They are sorry but they try to watch as much shows as they can. They hopefully can watch the newest ones too.

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There was a host of people going to buy National Theatre tickets

28 th January 2013

Theater lovers stormed the ticket offices. Since it was announced that Robert Alföldi leaves there is a show for which it is impossible to get tickets.

People could have bought tickets since monday for shows played in March, the online ticket purchasing systems and the ticket offices became inoperable. There was a huge crowd in front of the National Theatre and ticket office in Andrássy út. Theater lovers almost stormed the building of Teátrium. There are shows which are impossible to buy ticket for. For example the Seagull or Angels in America. The National Theatre reported several weeks ago that regard the great interest cancels the pre-order of tickets for the most popular shows and they limited the number of purchasable tickets per capita. 

Orsolya Gálos told Robert Alföldi - who just rehearsed in the morning - personally asked people standing in front the National Theatre to be patient. According to the Head of Communications National Theatre thought there will be great interest for the shows and they tried to prepare for it but they did not expect for storming of people the technical crush. 'We try to utilize these experiences in the next month.'- she added. She pointed out that National Theatre managed to gain the love of audience, they enjoyed the continuous interest of the audience. She considers this ticket purchasing rush happened because there are many people who missed to watch shows they really had wanted to see. Namely these shows will no longer be performed. 

The announcement of National Theatre:

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Not this way, please...

Fifteen million people's theatre

24th Januray 2013

Fifteen million people's theatre will be led by Attila Vidnyánszky if he adheres to his word.

Boróka Parászka's writing.

There is a serious illness in every side of policy: sensationalizing by numbers, arithmetic extension or narrowing of the nation. Keeping track of who is part of the nation and who is not - is not feasible because it costs more than millions. Strategic question: who is hungarian and who is not in Hungary nowadays. This aspiration can be seen in Transylvania but can not be understood and liveable. A politically narrow-minded prime minister or an under-educated politician can afford a number of war but not a theatre director with cultural performance. Not, because national culture, theatrical culture and national-theatrical culture do not work this way. Limits are much more fluid, possibilities are much wider. This would be enoug if a theatre would be the leading theatre of Hungary which could represent hungarian culture for many million people from middle-Eastern Europe. It would be important to pay attention to Budapest from Bukarest and Bratislava. This a success which the hungarian diplomacy has been unable to do for many years. Attractive idea that Attila Vidnyánszky described earlier: every third performance in National Theatre will be played countryside or beyond the borders. But we have to add (from beyond the borders) neither the countryside nor the border is not self-value. It is very insulting to be the part of the quote and become an alibi. What does the 'cross-border' theatre want to see, want to let be seen and how? Do they see where are the boundaries and connections of hungarian theatre at all? These are the questions which are not answered by Attila Vidnyánszky who talks about and refers to 'cross-border'. 

The theatre has been looking for the borders and border crossings in Transylvania. They live on it. How could a fifteen million people's theatre deal with Transylvanian Hungarian contemporary culture which does not forget - because they must not - forget about many million Romanian people's culture. The hungarian theatrical life is much more intertwined than it could be disassembled or separated or closed into ghetto. Actors and directors are coming and leaving. They rather come (here to Romania) than they go (there to Hungary). The number of cultural and professional refugees is increasing. Artists from Budapest are much more accessible and affordable than people from Bucharest. There we are Hungarian theatre has to move to (by force) to Romania and not a Romanian Hungarian person is entertained, brought to Budapest. This is a kind of situation which Attila Vidnyánszky has to explain now. Why do they flee, from who do they flee who flee. What does Attila Vidnyánszky do for stopping this preventing the run-off and drop-out to create a new, viable Middle-East European infrastructure? 

What Attila did until this time, his program, his ideas are not attractive and credible. Attila Vidnyánszky was appointed ignoring the opinion of cross-border profession. Despite the new director promised to change the program and enrich the repertoire with rural and cross-border productions he went against them. Well, no wonder that more and more people lined up behind Robert Alföldi: the kind of contemorary culture which is mentioned by many people is strategically important to keep hungarian theatre and it is close to the attitude of the leaving director. We know other way is also possible not sure that it is worth to mention.

In the spirit of national unity the kind of cross-border knowledge is neglected. It can be neglected. It is the logic of power. But they ought to account for why at least culturally. To sign that Attila Vidnyánszky recognized the resolutions, understood the arguements and he will form his strategy aware of this. He opens but does not close. Just to avoid saying contradictions when he explains his appointment as the success of cross-border acting.

If everything continues as before, the distances are going to increase,conflicts are going to deepen, the hungarian theatrical profession is going to be separated internationally. (From outside this 'provincialisation' is very striking and depressing.) Then there will be guest performances in Budapest vainly, the National Theatre's production will travel vainly. There will be not more than national 'navel watching'. 'Cross-borderity' will not be more than an uncomfortable and annoying punch for us which the current director will exploit and abuse.

And if this continues further it also happens that 'otherwise rage coming'. An alternative National Theatre outside the country can be a salvage to hungarian culture. And they will do what here we could not do. Here where there is not sufficient will, knowledge and professional honesty.

writer: Boróka Parászka 

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Árpád Schilling: ’ Attila Vidnyánszky’s pendulum breaks the clock

11 th January 2013

Recently one of his writing appeared - titled What politics! - in Élet is Irodalom. The founder of Krétakör called the artist-staff to take the responsibility as a public figure, openly tell their opinions. 168 óra asked him about this. 

’It is terrible when someone is in real danger, lets say, can lose his/her job if broaches some scandal. The person who refers to his/her family just to exempt from telling opinion is a coward’ - said Árpád Schilling who thinks ’struck each other’s hands’ system could work well.

For the question - Does he know that he agrees with Attila Vidnyánszky? (according to him now the pendulum swings the other way) - answered: ’ ATTILA VIDNYÁNSZKY’S PENDULUM BREAKS THE CLOCK. However there have always been people in the theatre who - aside professionalism - compromise with some  cases. Background bargaining obstructs the open-response to this obvious turpitude and to Attila Vidnyánszky’s dazzle. What he has done in the past two years is an insanity. Attila Vidnyánszky - just like György Fekete and Imre Kerényi - an injured ego. From this private problem Viktor Orbán creates a public matter that gives unlimited power to Attila Vidnyánszky - said Árpád Schilling who reported he will never forget that Attila Vidnyánszky was banging  on  the table and drawed an imaginary line between the Magyar Teátriumi Társaság and other organizations when professional organizations negotiated about the composition of NKA előadó-művészeti kuratórium. Attila Vidnyánszky said: ’There you are’, ’here we are’ and you could rejoice that you can appoint a curator.

Attila Vidnyánszky behaves like a curator chief: distributes favors.  Just like György Fekete did - added Árpád Schilling according to who György Fekete and his mates’ taste can be the State cultural policy compass. Sane person cannot leave this.

’I have an interest to form a fair competition in this country where knowledge is important not the connection. I am obliged to take part in a competition. I can prove that culture interests me. I must apply, otherwise it will be said rightly: Schilling criticize from the outside, without responsibility, and stay passive. It is my job to shake the bell if I notice dirty. My friends, do not let this, it will be a midden!’ - stated Árpád Schilling.   

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Go or stay? - Zsolt László about the National Theatre

8 th January 2013

Zsolt László answered the question to Presszó Nol. 

Does he stay in the National Theatre after Robert Alföldi leaves? What does he consider the greatest cultural loss in 2012? Does the teenage stuttering return? Presszó Nol discusses with Zsolt László in the Cafe Mozsár.

’ I had a few sleepless nights because of the shift. 90 percent I go. I met with Attila Vidnyánszky in 2002 and I have to say I became the member of National Theatre due to him. At that time György Schwajda called to play in the Tempest (Shakespeare) but I refused to go. Later Attila Vidnyánszky called me to play in Bánk Bán, one hand because of him, one hand because of the role I said yes. That is the way I got there. When Tamás Jordán’s tender expired Attila Vidnyánszky and István Márta applied for. If they had won then it would be less painful that he gives his name to the desctruction of a community. A question arises in me: whether how can somebody assist in this? Resume the video. 

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