The second part of the Fathers and Sons trilogy

Grandpa Imre sues his grandson József. The grandfather claims that József has insulted him, his deceased relatives and his current wife in his novel. His social relationships were damaged, his personality was destroyed and he even contracted a fatal illness because of the content of the book in question.

József says that this is fiction, that the novel is a figment of his imagination. Who is right? The story paints a picture of a family that is self-destructive, disintegrating, and carrying generational curses.

Premiere – October 23, 2021

We Are ’56

Walking Theatre Interactive Performance

Performance dates

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Közelgő események

Artists

Producer: Rodrigó Balogh
Dramaturg: Márton Illés
Director: Tamás András Szegedi
Assistant Director: Kálmán Lukács

Short description

The company’s performance pays tribute to the Roma heroes of the 1956 Hungarian Revolution. This interactive walking-theatre production is set during the final days of October and the first days of November 1956. The audience members themselves become revolutionaries, led by the four main characters, who share their own stories and dilemmas with them.

There was a ’56, but this is another one!” These are stories that we can hardly have any direct memories of. Only a few surviving participants and witnesses can pass on what happened on the streets of Budapest in October 1956.
We travel back in time and evoke the past. Anyone who comes becomes a participant — and not just any participant, but one in the line of fire. No comfort. A fight for survival! A struggle for freedom! In another ’56, in another Corvin Alley! “If you are Hungarian, join us! — Will you join us?” — Tamás András Szegedi, director


“The pace of the performance was also precisely choreographed. Between the running, hiding, and highly tense scenes involving the performers — which sent our adrenaline levels soaring — there were also quieter, more contemplative periods. These were important to us because we constantly had to assess our own feelings and decide how deeply we were willing to commit, and what we would no longer be willing to do in the given situation.
In this way, as several of us articulated during the discussion following the performance, we could feel the growing pressure of the situation, while still having the opportunity to stop and reflect.”

We Are ’56, KÉT LÁMPÁS