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




Színházi Munkanapló / Performance Diary

2008.12.23. 11:47 Natália


Julia is said to be psychologicly undeveloped.

I dont think she is. Ohpelia is. And Gertrude is. There is more to Julia than just being the sidekick of Romeo. Otherwise we could not do this piece.

And you are quite right Sophie, she does have these scenes where she thinks and feels and decides and acts.

There are fineries in the language she is using, that carry meaning, that we might not pick up on, and these will be lost in the Hungarian traslation certainly.

Just by hecking out 90% of the cast we have lost most of the text, but perhaps it is still worth mentioning that Shakespere writes in many lyric forms - most unknow to the humble reader of the XXI century, that indicate and define the tone of what the craracter motivation is and who they are. It also referrs to social classes as common people tend to speak in prose while posh people use a multitude of poetic forms. There is a good article on wikipedia about that.

Julia for exapmple uses the methaphore of pilgrims when she first meets Romeo and that is supposed to be a new way of poetic expression, both in for and subject indicating that something new begins. 

Or the part that you reffered to earlyer, when she finds out that Romeo has killed Tybalt, but she has the strength to look at the situation from a different angle.

Her anger might be forced from the beginning, overacted: the part that we were reharsing with Zsofi, where she is using a lot of oxymorons:

'Fiend angelical, dove feathered raved, wolvish-ravening lamb!'

I have read that oxymorons were considered very artificial and unnatural to emotions, as if she would have to make an extra effort to sound really angry, but the form of expression might already give away that she will forgive Romeo.

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