011 Production Group - BOOKLET - 2014

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  1. PRODUCTION GROUP 2. “Every theatre production has to create a unique world, system in which the spectator can recognize the events important for him through a series…
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  • 2. “Every theatre production has to create a unique world, system in which the spectator can recognize the events important for him through a series of partial truths; he can put the pieces together like in a puzzle. A good theatre is like the rabbit’s hole for us, where space and time changes every minute, where the actor turns into something different, he is a machine, a plant, an animal and human, statue and animation. Where the memories of our subconscious are connected to the main storyline with a thousand threads, where the numerous manifestations of the world around us can be animated within moments. Where in a concentrated moment I can feel the pouring rain, last year’s love, the fantasy comics or my latest family meal. Where the scenes don’t follow each other in a linear way, but every small unit can stand on its own as an individual vision, social message or even just an impression, but if I want, I can add to the plot by simply creating a story and going on writing my own story. The question ‘what is this scene or sentence doing here?’ cannot come up in theatre. It has to create a system in which these specks of dust roll by themselves and I can either identify myself with them or they disturb me. If the theatre doesn’t carry this kind of freedom, this kind of interpretation network, then it becomes predictable and transparent. Just another tally in the file where they tried to force a message on me instead of letting me arrive to an interpretation in my own rhythm.” Márk Radnai (director)
  • 3. “In the theatre system – reading of a play, rehearsal, taking the scenes, etc. - there are no such things. We can do like for example what we did yesterday, before moving to Zsámbék, that we put a 20- page scene and put it in a car. We try how it works there. This style of work is much freer and allows this play.” Ádám Kovács – actor “After a performance like this, posterity can somewhat understand why the cabaret of Pest was so popular.” Bálint Kovács – Magyar Narancs “This drama brutally switches our emotions from one extreme to the other; from laughter to shock, from amazement to confusion. This is why it is only on your way home from the theatre, after coming to terms with the exposure to a fast-paced string of stimuli, that the reaL thoughts start to choke you.” Csaba Méhes – kulton.hu 011 PRODUCTION GROUP The 011 Alkotócsoport (011 Production Group) was formed in 2011 with the aim of assembling young theatre and film artists to create their own productions beside their other main activities. They presented the theatre adaptation of Quentin Tarantino’s “Reservoir Dogs” in 2011, which was co-written with the actors. After the successful performance at the Summer Festival of Zsámbék, they received an invitation to the Bárka Theatre of Budapest, where the production was staged. The creators financed their productions from their own resources due to lack funds. The set was built from discarded furniture picked up from the streets. In the two years spanning the foundation, experienced artists joined the team (Ildikó Ságodi, Péter Tóth, Zsolt Anger) who helped the production with their own knowledge even without a salary, because although the team didn’t have any funds, the realization and the preparations required professional work. In the summer of 2012, the Summer Festival of Balatonföldvár and the Summer Festival of Szentendre invited the group to create a production from the classical cabaret scenes of Károly Nóti. The team wrote and put their production entitled “Lepsénynél még megvolt!” on stage within three weeks. In November 2012, they started the rehearsals for the Oz-adaptation about drug addicted youths, entitled “Meanwhile in Kansas,” the genre of which is described by the group as progressive – fiction – documentary – trash pathography. The rehearsal process was preceded by six months of research, during which time the creators studied several research articles, biographies, films, novels and other literary sources. They invited Zsolt Bordos to enhance the visual experience and they were experimented with a revolutionary architectural projection and thus together they produced the first prosaic play of Hungary with 3D projection mapping.
  • 4. MEANWHILE IN KANSAS “Leaving the theatre after the performance, I was surprised by the sight of the snow. During the time spent inside, I forgot that it’s winter and snow outside. This is not light evening entertainment; on the contrary, it is a particularly thought-provoking performance, witty, spectacular and bitter at the same time. It’s a must see.”
  • 5. HISTORY In January 2012 the 011 Alkotócsoport, which is a community of young artist graduates formed in 2011, applied for a grant at the National Cultural Fund for a theatre production, which is about dependence and addiction. Our production wishes to draw attention to the biggest problem of nowadays: the dangers of drug addiction. After winning the competition and six months of research we had the opportunity to realize the production. In the preceding stage we were searching for sources which had already dealt with this topic in some way. We watched cult fiction films (Requiem for a Dream, Trainspotting, Spun, Enter the Void) and documentaries, such as the work of László Pesti about heroin users (Budapest Végállomás). In this research period we tried to map the musical and visual art fields that are strongly connected to this culture. We organized discussions in which we outlined the possible dramatic arcs, defined scenes and determined the aim of the play: to present the obvious attractiveness and satisfaction of drug use and its effect leading to anxiety, emptiness and finally to destruction. In the end, we found the keyword that could become the link between the “civilians” and drug users; addiction. To research the effects of different drugs, we consulted several professional journals that analyse the effects of drugs from a chemical point of view. Addiction, as such, is specific to every person. Passionate adventure-seeking, workaholism, the pursuit of a healthy life-style, the passion for gambling, the obsession with tidiness, using medication; they all lead to addiction. We decided that the production would deal with fulfilling a need felt by the people, and not with the drug itself, distant from and condemned by the everyday people.
  • 6. OBJECTIVES WORKING METHOD General beliefs are wide-spread about drugs. It is something is everyone is afraid of. All parents are afraid for their children. Drugs mean ending up on the streets, disease, distortion. Drug is death. This is not true. In our current society, one in five young people have already tried some kind of drug. Like alcohol, medication, sex, smoking, coffee, gambling. Passions don’t have destructive effects on their own, but as the result of dependence. Because it is good. And we want to repeat the experience again and again. Today’s young generation is maybe more aggressive, more impatient than the previous one. They’re searching for their place. Many of those youngsters unable to properly handle the upset order in society and in their family and to utilise their energy well find that something that lifts them out of the perceived upset world in drugs. What is this need that they want to fulfil like this? Does the act of fulfilment really happen? And what is this force that also makes one forget the long-term consequences? For us, this question is important not only in relation with our own surroundings. We cannot forget those articles in the daily news that report the down-fall of university and high school students. In the production we try to move the audience to a non-existent world. To the world of fantasy, dream, hallucination from which the protagonists come back every now and then to the reality undesirable for them. The goal of the play is to demonstrate the phenomenon. Not with the use of the classic drug- prevention methods, but with strong visual theatre devices. The topic requires the predominance of the figurative, associative, cinematic mechanisms of action instead of the linear-dramaturgy. For the processing of the topic, several books, fictional films and documentaries, educational films, music, audio materials, interviews, newspaper articles, blogs and biographical accounts served as a basis because it would be irresponsible to deal with such a serious topic without studying all these materials. We analysed a lot of films and books with the stage designer and the dramaturg separately, but the real work started when we moved in together for three days. In order to be able to find our way in this vision-world, we had to find the common denominator. While the stage designer created the pictures and graphics, we edited the text and searched inspirational films and photos. We tried to clear the stereotypes from all of our minds and start to write, edit and organize the dramatic material.
  • 7. SET DESIGN AND SPACE The plot of the play takes place on several levels. In reality, which is a flat, in a psychedelic dream world, which is the world of Oz, and in the visions of certain protagonists. We wanted to obtain these different levels with different theatrical effects. The 3D mapping technique, which is barely known in the theatrical world and is currenty mostly used for building painting, is capable of such visual effects that are perceived as three-dimensional. We had to design a set the function of which can support the theatre’s form of expression and at the same time it would be suitable for this type of architectural projection as well.
  • 8. 3D MAPPING The outrageous, ground-breaking video projections were initially introduced by VJs (Visual Jockeys) when the projection onto canvas became boring; so the projections to various forms began. The projected image “fell apart” on the new surface, making it more exciting for the viewers and dislocating the from their usual (passive) observer status; making them take part in the interpretation of the images. One of the pioneers of this genre is the AntiVj. The 3D animation, as a tool used by artists, enabled the more serious use of architectural projection as a genre and nowadays such complex projections are created where it is difficult for the viewer to detect the boundaries between real and virtual. This can be achieved by constructing the real space in 3D and then projecting it back to the real building. The re-projection of the virtual 3D animation to the real 3D space and the play resulting from the combination of the two cannot be interpreted in a traditional way by the viewer; his senses fail him (because the projected image modifies the projected surface), so the viewer is dislocated from the traditional, usual perceptual and interpretation patterns of the sensation and encouraged to find new interpretation.
  • 9. PLOT We used two important materials for the development of the dramaturgy and the context of the production. One of them is L. Frank Baum’s novel, The Wonderful Wizard of Oz, the other is Viktor Kubiszyn’s Drognapló (‘Drug Diary’), the author’s personal narrative about 16 years of drug use. The story of the tale seemed to be suitable to represent how the girl who wishes to get away from the black and white world gets to the emerald city and how she tries to find her way back. That is, what was really happening in reality while Dorothy imagined she was staying in the realm of Oz. Several symbols and characters of the tale were perfectly suitable for narrating this topic. The protagonists joining the girl in her journey are all characters waiting for some kind of solution who suffer from their own needs. Everybody knows the story of The Wonderful Wizard of Oz. A tornado separates Dorothy from her home and family and she find herself in an unknown world. She has to get to Oz in order to go back home. During her journey, she finds friends who too are waiting for help from Oz to fix their lives. Oz is willing to help only if they kill the Wicked Witch of the West. Once they finally manage to accomplish the task, Oz’s secret is out. He doesn’t have any power, he cannot really help them. There is no way out for Dorothy. At least, it seems so, until it turns out that the solution was there on her feet all along, in her shoes which – if she had known their secret – would’ve flown her home to Kansas at the beginning already. It is difficult to get out of the world accessible with drugs. Moreover, the black and white reality of Kansas or Budapest cannot be compared to the miracles of the other world. The plot runs parallel between these two worlds, both separately and simultaneously. We see a Budapest apartment the whole time, while countless scenes, dangers, timelines, decisions and drug-effects mix in front of our eyes. CAST AND CREW Dorothy - Alexa Bakonyi Good Witch of the North - Alexandra Borbély Wicked Witch of the West - Hanna Pálos Scarecrow - Bence Tasnádi Toto - Ádám Kovács Tin Woodman - Viktor Klem Oz - Vince Zrinyi Gál Cowardly Lion - Dániel Király Guardian of the Gates - Balázs Kulcsár 3D mapping: Zsolt Bordos Set design: Renátó Cseh Costume design: Juli Szlávik Dresser: Vivien Cseh Lighting: Miklós Mervel Music and sound: Zoltán Belényesi Dramaturg: Ambrus Ivanyos Assistant: Nóra Zágoni Production Assistant: Júlia Kruzslicz Contributor: Zsolt Anger Director: Márk Radnai
  • 10. THE PILLOWMAN “Director Márk Radnai has staged something that is rarely seen in Hungarian theatres. Martin McDonagh’s Pillowman namely mixes the genres of a thriller, a horror or a revenge play, a whodunit, a black comedy and a political play.”
  • 11. Martin Mcdonagh - The Pillowman Three kids went missing, two of them were found dead. The murders show some strange connections with different short stories by a local writer, Katurian. Two investigators try to get a confession from the suspect, but Katurian cannot tell them anything. He knows that he’s innocent even when all the evidence indicates otherwise. His brother on the other hand, who’s mentally ill, is becoming more and more suspicious even for him. The play is based on three scenes, two interrogations and a long discussion between the two brothers in a prison cell. The audience also hears different short stories from the writer Katurian, which help understand the brutal life and the particular relations between the two brothers. The set of the production reflects onto the one-way mirrors of the interrogation rooms, the audiences sit very close around the stage, which is a glass cube. The people inside the cube can’t see what’s outside. With a thriller like this, it was essential for us, to put the audience in a strange place, in close proximity to the actors, but separated from them. In this way all the emotions and violence can be easily experienced.
  • 12. szputnyik Szputnyik Shipping Company, founded in January 2008 and led by Viktor Bodó is an independent theatre. Since this date the company has presented 28 productions independently or in co-production with Hungarian or international resident theatres and theatre companies. In the spirit of accessibility and mobility the company also started its educational activity in 2011, in the form of plays that can be performed in classroom settings as part of a drama pedagogical program with the participation of actors. CAST AND CREW TUPOLSKI - Pál Kárpáti KATURIAN - Péter Jankovics ARIEL - Dániel Király MICHAL - Károly Hajduk ANYA - Kata Pető KISLÁNY - Niké Kurta Set Design: Renátó Cseh Technical Department: Zsolt Balogh Sound Design: Gábor Keresztes Lightning design: Miklós Mervel Costume: Juli Szlávik Video: András Juhász Dramaturg: Ambrus Ivanyos Make up: Barbara Kund Assistant: Andrea Pass Production assistant: Nóra Zágoni Production manager: Viktória Kulcsár, Péter Tóth Director: Márk Radnai
  • 13. RESERVOIR DOGS “When representing physical violence on stage, one can operate with only a smaller number of visual props or the end result will become overdone and thus ridiculous, if one finds the right theatrical language, because of the actors’ personal presence on stage, the impact can be greater than in a film where spectators and the act of violence are cut off by the screen.”
  • 14. RESERVOIR DOGS The production tells the story of six guys from Budapest, who do not know each other. They plan to break into Andy Vajna’s house on the eve of the producer’s birthday, and start a new life in a different country with the movie money they get. The operation is planned by the father of one of the boys, who gives them code names: White, Blue, Blonde, Orange and Pink. According to the plans, after the burglary they would directly drive to Zsámbék to distribute the money in a warehouse. The operation ends in a bloodbath: one of the boys cannot keep his nerves and starts shooting. The police raids the house. They all flee through different routes and know nothing about the others. At the arranged meeting point, in the warehouse, they desperately try to reconstruct the events. Everyone becomes mistrustful, they accuse each other and fear for their own lives. They trust no one, but they neither dare leave the warehouse, nor stay inside. They’re in a quagmire, especially because they discover that there is a snitch among them. CAST AND CREW Fehér (White) - Ádám Kovács Narancs (Orange) - András Rusznák Szőke (Blonde) - Viktor Klem Rózsaszín (Pink) - Bálint Rada Széparc (Nice Guy) - Zoltán Simon Kék (Blue) - Gergely Kovács Mester (Master) - Dániel Király Zsaru (Police officer) - Benő Fehér Mercédesz - Alexandra Borbély Jessica - Hanna Pálos Józsi - Zsolt Anger Costume design: Júlia Szlávik Set design: Renátó Cseh Dramaturg: Tamás Fekete Sound: Zoltán Belényesi Lighting: Miklós Mervel Makeup: Beatrix Krasznai Choreography: Kitty Fejes Assistant: Krisztina Fodor Production manager: Ildikó Ságodi Director: Márk Radnai
  • 15. DROSZT “Droszt, shows the adventure-packed nightlife of Budapest taxi-drivers in a way that the spectators sitting in Atrium Theatre (which was once a cinema) cannot decide if what they are watching is a theatre performance or a movie. Nonetheless, they are laughing all the way through it.”
  • 16. DROSZT Budapest - Night - Taxi In the fall of 2013 we produced DROSZT. This performance is about taxi drivers in Budapest. Our aim was to present one night in the life of four drivers in a dozen smaller scenes, a dozen rides. There are no direct links between the passengers, but altogether the audience gets a quite strong impression of the life and work of the drivers and of course of Budapest. The set is only a car and a huge movie screen. Three cameramen and an editor works parallel to the actors creaing a live-movie in the theater. We used amateur actors to give the impression of that real passengers sitting in the cars. The curiosity of this project was that we started out with the set design first, then we looked for actors and the story itself was written later. Bemutató: 2013. október 10., 19 óra DROSZT_210x100.indd 1 10/3/13 4:15 PM
  • 17. CAST AND CREW Cast: Adilov Alim, Adilov Amon, Adilov Ilham, Bata Éva, Bán Bálint, Bárnai Péter, Biszak Áron, Dömök Edina, Farquhar Anna, Gosztonyi Csaba, Kispál Zoltán, Kovács Ádám, Kövesi József, Németh Ágnes, Siflis Anna, Tolnai Klári, Varga Virág Set Design: Renátó Cseh Costume Design: Juli Szlávik Lighting Design: Miklós Mervel Cameraman: Károly Spáh András Táborosi Bernadett Mayer VJ: András Juhász Dramaturg: Ambrus Ivanyos Production manager: Viktória Kulcsár Production assistant: Nóra Zágoni Assistant: Dóra Hannig Director: Márk Randai
  • 18. Flatletpanic “The play Flatletpanic could be a candid camera prank, but we would be fooling ourselves if we still laughed at the end. Instead the production is a memorable mixture of a tragicomedy, – with a wry sense of humor but
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