HTML

Édes Hús

Shakespeare tragédiájának gyönyörű töredékeiből álomszerűen szővödik össze Júlia története. Júlia két hangon és nyelven (angol-magyar) szólal felidézve azt a sűrű, búja és végzetes hat napot, mely szenvedélyt és kétségbeesést, gyászt, nászt és halált hozott neki. A magyar nyelven játszó Ubrankovics Júlia, aki a 40. Magyar Filmszemlén elnyerte a legjobb színésznő díját és Sophie Thomson, aki Londonból érkezett Budapestre a nővévállás rítusaként, középkori dalokkal, hús-vér eleven erővel és bájjal idészik meg Shakespeare legszebb szellemét: Júliát. In this bilingual (English and Hungarian) performance beautiful fragments of Shakespeare's tragedy evoke Juliet as an eternal memory, as a waking dream. She re-lives those sweet, dense and dark six days that brought her passion and desperation, grief and joy and her untimely death. Ubrankovics Julia who plays in Hungarian has recently received the prize for best actress on the 40th Hungarian Filmweek. Together with Sophie Thompson from London they take you through this rite of passage into womanhood with rituals and medieval singing. This theatre-seance conjures up Shakespeare's most beautiful ghost: Juliet.

Friss topikok

  • gybala: I really liked the customes on the show!! Good ideas... (2009.04.20. 23:12) Magony Zsuzsanna
  • Natália: Why hmmmmm? Do elaborate. (2009.01.03. 02:06) Flowers
  • Natália: wow superb. I am very excited. Will write again soon. (2008.12.26. 23:24) Dramaturgy
  • Natália: First of Miss T: what does she mean to you? What motivates you to play her? And what is her dilemm... (2008.12.22. 14:40) First Meeting - Sophie

Linkblog

Feedek

XML

Színházi Munkanapló / Performance Diary

2009.04.11. 20:44 Natália

Some background info

So once upon a day, not too long ago it all started with Sophie coming around for drinks, she was singing songs and I was comparing the translation of Meszoly to that of Kosztolanyi, and we had chats about how corpses were prepared for burial in the olden days, and looked at pictures and sang some more songs. Her parentes were a great help actually and than she went with the songs to some dear friend with an available piano and learned these very beautifull songs. And we talked about how and why Juliet is relevent to us, and how she might be releven to audiences in persent day.

When one starts a project like that one is literally working with endless possiblities. As a performance artist you cab decide to chop up some vegetables while reciting to be or not to be, so really you have to make some rules.

At one point I was going to translate the whole text, since in many cases the original English lines are fresher than the Hungarian translations, but than most of the times - naturally - I couldn't come up with a better version, or more suitable to our project shall I say. On rare occasions I felt that it was necessary to change the text in both languages, just to make it more understandible, or more feminim I would say, or more experimantal.

The experimental parts than could allow for dance-scenes to be introduced and also would allow the performance text to break out of the paradox situation of one-sided dialouges. When it is potery everything is possible. And Shakespeare is poetry, so it is only just that a contemporary adoptation should carry on lyrical traditions.  The different layers of language would also add to the diverse texture of the performance.

 

We all have been very enthusiastic about Nora Kovacs to come on board and help us with some of the scenes.

She has read the script and than we talked about what scenes could benefit from her choreography the most. She also told me what ideas she had reading the lines, and we agreed she would come in to do a dance-workshop with us.

At the first meeting she was asking the girls to do excercises that allowed her to asses their skills and style of movement. I have kept two scenes entierly to her ideas. Nora was very happy to take on the challenge to choreograph a dance based on poetry as opposed to music and we hope to do more collaborative work in the future, where we could bring text-based theatre closer to physical theatre.

The balcony scene (one of the cheesiest in the play) is now a dance piece, and expresses the euphory of love in general.

 

Leave a comment

Trackback address for this post::

http://esjulia.blog.hu/api/trackback/id/tr861059978

Kommentek:

A hozzászólások a vonatkozó jogszabályok  értelmében felhasználói tartalomnak minősülnek, értük a szolgáltatás technikai  üzemeltetője semmilyen felelősséget nem vállal, azokat nem ellenőrzi. Kifogás esetén forduljon a blog szerkesztőjéhez. Részletek a  Felhasználási feltételekben.

No feedback.