Merteuil: Éder Enikő
Valmont: Harsányi Attila
translated by: Földényi F. László
adapted by: Láng Zsolt
set design: Albert Alpár
assistant: Fekete Réka
lights: Turcsányi István
costumes and props: Balázs and Marek Co.
director: Balog József


Müller’s play gives a sensitive and passionate as well as accurate and exhaustive account of how the European man got lost both ideologically and socially. Laclos’ epistolary novel is a good excuse for Müller to adapt Dangerous Liaisons into the set and time of two people’s fatal game – mainly as the last chance for love and pleasure. The presentiment of revolutionary changes and the reminiscence of the permanent third world war control and extend the possible interpretations, since this ‘Revolution’ has become a meadow where everything seems to dry out. The third world war was actually the cold war but these times, together with Müller’s period, are long over.

Only man remained.

Not in his place, not thrown in history, but rather involved in virtual space. Only man remained, the body and passion. Or suffering is a more appropriate term.
A giant body operates in the play whose prisoners are unable to get free, they don’t even want to be free. They are playing, playing with the loyalty of others, the virginity of others and with their own devastating discernment.
They are too clever to be humans but too much lost to be animals.
Their theatre is an empty skeleton in which everything goes on.

“The theatre of beasts”, says Valmont.

Though the beasts of the era are not real anymore.
But let’s imagine for fun that two beasts long for each other’s flesh.
Their hunger is uncontrollable, their stomach is a bottomless pit.
They applaud themselves in an empty theatre.

Curtain.

Supported by: Bethlen Gábor Fund, the Local Government of Arad (RO), the Local Government of Szeged, MASZK Association (Szeged), Factory Creative Studio (Szeged)

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