Our performance, using Beckett-texts, blurs the boundaries between theatre and music. We create an experimental oratorium or ritual which renounces every type of theatrical appearance and merely relies on the energy and voice of the actors. We are studying the impression made by the instruments and the music itself on the actors, and vice versa. Our point is to create an experimental opera in the form of a concert, which, considering its naivety and lack of technique, gives voice to the character’s deepest parts. In this case, the naivety and the lack of technique show the effort to conceive the music as the soul’s most direct manifestation. However, in this case the basically dramatic characteristic of the human soul affects the music, and these two form an interesting unit: soul-music-drama-theatre. This is how the form of the performance is created: a sound-play.
Thanks to: Konrád Katalin, Kocsis László, Lakilu
Sponsors: Soros Alapítvány, Fővárosi Önkormányzat Színházi Alap, Nemzeti Kulturális Alap Színházi Kuratóriuma, MU Színház