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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

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Színházi Munkanapló / Performance Diary

2008.12.14. 20:22 Natália

48 Hours of Agony

I believe it was 1998 when I witnessed the opening night of Romeo and Julia performed by the Atlantisz Comapny, directed by Adam Horgas.

I wrote a very good performance analysis out of it for Andras Nagy, who thought I was very talented. Thank You.

In that paper I argued, that the whole performance was directed as a strange nightmare, full of ghosts, and the set reminded me of bones, as if the whole piece would take place in a skeleton. Yes, very cheerfull child I was, never the less I made a good point.

To approach what I am about to share from an other perspective I have to mention Peter Nadas and his postmodern trilogy: Cleaning-Encounter-Funeral. (Takatitas-Talalkozas-Temetes) They are to be compared dramaturgically to Sarah Kanes work, and you will find the same dramaturgical process, but That is another story, or two.

Anyway in Talalkozas - Encounter, that also happens to be my favourite, one of the possible explonations to this very unusual piece is, that it dramaturgically depicts the emotional landscape of agony. The set is very stylized - all white, one red door in the middle, old lady in black dress. And then a young man enters and together they tell a story from the past. 

My idea for the day is to use the notion of agony or fiverdream to serve as a directorial concept. I might have written earlier that I was going to include a dream scene at the end, where Julia sleeps for 48 hours.

48 hours - not a bad title actually. 96 minutes - good performance lenght.

This will allow me anything.

Wow.

Ps: Was it 48 hours? I remember it being an akward number

 

 

 

 

 

 

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