Burial
Comedy without Intermission.
Actor and Actress are wandering on stage trying to find the purpose of their performance.
For Nádas, theatre, the domain of actors, is not a branch of literature, at least not in the sense that a novel, which has characters, is literature. The novel describes, but theatre performs intensity, carnality. “What interests me in the theatre is not the story,” Nádas has declared. “Nor is it so-called ideas. That is a matter for literature and philosophy. In theatre it is the system of relations emerging between live bodies that is my interest.”
This is an opera of words, a ballet of movements. The only criterion is intensity. Again and again, the characters work themselves toward the ecstatic, the incorporating. They speak, they spar, they dance, they chant their engorging, their entering of each other, their exchanges of identity, their pauses, their frustrations. A whole lifetime, a whole relationship is enacted, parodied. Breathing, clutching, avoiding, declaiming, the two characters attempt to exhaust every permutation of their merging and their estrangement.
(Susan Sontag in Nádas’s Comedy of Interment)
Working group
- Directing: Bálint Barcsai (Artistic thesis)
- Performers: Linus Mäkelä and Li Krook
- Puppet designer: Elias Langi
The performance is in English.
For Nádas, theatre, the domain of actors, is not a branch of literature, at least not in the sense that a novel, which has characters, is literature. The novel describes, but theatre performs intensity, carnality. “What interests me in the theatre is not the story,” Nádas has declared. “Nor is it so-called ideas. That is a matter for literature and philosophy. In theatre it is the system of relations emerging between live bodies that is my interest.”
This is an opera of words, a ballet of movements. The only criterion is intensity. Again and again, the characters work themselves toward the ecstatic, the incorporating. They speak, they spar, they dance, they chant their engorging, their entering of each other, their exchanges of identity, their pauses, their frustrations. A whole lifetime, a whole relationship is enacted, parodied. Breathing, clutching, avoiding, declaiming, the two characters attempt to exhaust every permutation of their merging and their estrangement.
(Susan Sontag in Nádas’s Comedy of Interment)
Working group
- Directing: Bálint Barcsai (Artistic thesis)
- Performers: Linus Mäkelä and Li Krook
- Puppet designer: Elias Langi
The performance is in English.