Our current plays

Apák és fiaik trilógiájának második része Holdosi József 1978-ban kiadja Kányák című regényét, mely hatására mind az író, mind a kiadó ellen feljelentést tesz a szerző nagyapja. Mit mutathat meg a saját közösségéből, az életéből egy író? És mennyiben védhető az alkotói szabadság a vádlottak padján? A per és a regény, illetve a valóság és a fikció keresztmetszetének történetét énekli

The second part of the Fathers and Sons trilogy In 1978, József Holdosi published his novel “Kanyas”, which led the author’s grandfather to file a complaint against both the writer and the publisher. What can a writer reveal from their own community and life? And to what extent can artistic freedom be defended in the dock? József says that this

The second part of the Fathers and Sons trilogy In 1978, József Holdosi published his novel “Kanyas”, which led the author’s grandfather to file a complaint against both the writer and the publisher. What can a writer reveal from their own community and life? And to what extent can artistic freedom be defended in the dock? József says that this

Sándor wants to be a free filmmaker, but the Eastern European dictatorship he lives under has other plans for him. The state dictates his professional work, his social life and even invades his bedroom. How can a young person from an impoverished Roma village become successful? How far can an artist go before the authorities silence them? What would you do if the state interfered in your work and private life? How can a filmmaker become truly successful in an age of socialism with its watchful eyes?

What makes a girl “good”? Is it the girl who brews coffee for her parents? The one who wants to help her family? The one who picks flowers for her mother? Or the one who stands up for herself against suspicious characters? But why, despite doing all of this, does she still feel like she’s done something wrong? Sponge decides to run away!

The butcher has disappeared. 131 Roma were convicted. No bodies. 41 Roma were publicly executed. Still no bodies, no evidence. Only confessions extracted under torture. The new performance of the Independent Theatre of Hungary, The Cannibals, commemorates a story reminiscent of the Dark Ages.

A seemingly average teenage girl is being questioned by her mentor to understand why she did what she did, why she takes the decision that she is taking. The girl recall memories and experiences but not all of them are her own. We get involved in the challenges of grandparents, sisters, teachers, kindergarten peers and classmates through the exceptionally skilled girl’s tale who can assimilate with anything or anything, reads the mind and memories of others and does not want to follow someone else’s example.

While many see the majority of Gypsies as unemployed, Roma workers have long played a prominent role in building houses in Hungary. Initially in the field of adobe bricklaying, later in brick factories and then in the construction industry in general, the role of Roma has become increasingly important, sometimes clinging to their identity, sometimes abandoning it.

The seven pennies are now in the man’s pocket. The day he found them, he lost something. Something that cannot be replaced. Through the recollection of his memories, he returns to the turning point of his childhood, to the day when play suddenly became reality. This is how we enter the world of Zsigmond Móricz’s short story, which tells not only of poverty, but also of self-sacrificing parental love.