Under their Feet

complex dance theatre in education performance

After Horda2 and Based on True Story, Under Their Feet is the third piece of a dance theater in education performance series. During the performance we take a look at the subject of tradition and innovation in our game; we want to think together about the tension between the two concepts. Folk dance is a medium here that helps the central question to be more sensitive, more subtle, engaging in more sensory organs, and encompassing the question of identity.

 

Writer, dramaturge: Edit Romankovics

Music: DJ Panda

Scenography: Gabriella Kiss

Contractor: Zoltán Iszlai

Technician: László Kálócz

Performers/dancers: Viktor Bori, Dávid Bódi, Zsanett Fehértóy, Eszter Horváth, Ákos Kanozsai, László Kálócz, Norbert Kolumbán, Fruzsina Kriston, Anita Patonay, Virág Reszneki, Tamás  Szabó

Theatre in Education consultant: Gábor Takács

Director: András Sereglei

Choreographer: Zsolt Juhász

Duration: cca. 180’

 

Under their feet is a cooperation of the National Dance Theatre, the Duna Dance Workshop and Káva Cultural Association.

 

The complex theatre in education (TiE) performance is a theatrical education program, in which theatre scenes, episodes and related conversations, as well as specific interactive art forms are joined in an organic way to further process and think a story. The topic of the performance is always a moral/social problem, which examines humans as social beings living in the present. It is a genre in which the viewer is placed in the centre, and the creating presence of the viewer has become a method. The aim is not to convey the message in these performances, but to focus on the dilemma. The creators try to emphasise a question or a problem, where examination from multiple perspectives is inevitable. A forum is created, where opinions can be negotiated, different thoughts can be confronted in order to establish a dialogue between the participants. It is a dialogue between students sitting in the same classroom, students and adults with different values, worldviews. These performances can also be perceived as performative social interventions.

Explanatory and related concepts: interactive theatre / applied theatre / performative method / theatrical education / complex theatrical educational performance / social intervention / drama pedagogy / participation theatre / TiE – Theatre in Education / theatre pedagogy / political theatre / constructivist pedagogy / non-formal education / community theatre

 

Based on a true story

Based on a true story

complex dance theatre in education performance for primary school students of 6-8th grades

Co-production of the National Dance Theatre, the Central-European Dance Theatre, Káva Drama/Theatre in Education Association and Bethlen Theatre 

In the focus of Based on a true story stays a family falling apart (a mother raising her children alone, a teenage boy searching for his way, a skeptic teenage girl and a father far away). Through our story, we will think together with the 12-14-year-old participants how someone can keep his/her humanity (and his/her childness) in a falling apart family. The complex performance is built up by textual theatrical scenes, dance theatre scenes, verbal and movemental interactive parts.

Duration: approx. 150′ (with one intermission)

Actor/drama teachers, dancers: MariannHargitai, Adrienn Horváth, Mátyás Csaba Nagy, Zsanett Jakab, László Mádi, Melinda Milák, János Kardos

Writer, dramaturge: Júlia Róbert

Theatre in education consultant: Gábor Takács

Scenery: Gabriella Kiss

Technician: Zoltán Fogarasi

Choreographer: Attila Kun

Director: András Sereglei

Venue: Bethlen Téri Színház (Bethlen Theatre)

Application: Nikoletta Varga 0630/8153580, varga.nikoletta@tancszinhaz.hu

 

The complex theatre in education (TiE) performance is a theatrical education program, in which theatre scenes, episodes and related conversations, as well as specific interactive art forms are joined in an organic way to further process and think a story. The topic of the performance is always a moral/social problem, which examines humans as social beings living in the present. It is a genre in which the viewer is placed in the centre, and the creating presence of the viewer has become a method. The aim is not to convey the message in these performances, but to focus on the dilemma. The creators try to emphasise a question or a problem, where examination from multiple perspectives is inevitable. A forum is created, where opinions can be negotiated, different thoughts can be confronted in order to establish a dialogue between the participants. It is a dialogue between students sitting in the same classroom, students and adults with different values, worldviews. These performances can also be perceived as performative social interventions.

Explanatory and related concepts: interactive theatre / applied theatre / performative method / theatrical education / complex theatrical educational performance / social intervention / drama pedagogy / participation theatre / TiE – Theatre in Education / theatre pedagogy / political theatre / constructivist pedagogy / non-formal education / community theatre

 

Keeping, not letting go

Keeping, not letting go

Our story is about three youngsters, who leave their parents’ house at the doorstep of adulthood and move into the city. Our main characters, leaving their childhood behind, want to break out from their parents’ control, the suffocating bond of their home, have a desire for freedom to bring their force to the proof. In the new environment they are getting closer to each other, the diversity of their family background and nationality color up the weekdays. At the new place the differences make them feel special, unique and exceptional. However, when they face intense ethical and emotional challenges, the differences of their family traditions and the tension of their home’s bond create a growing pressure and distance between the youngsters.

In our performance we search the answers together with the participating students through the power of dance and theatre, how the family traditions influence our own decisions and at the end of the day, our life course.

Dancers: Eszter Oláh, Veronika Sebő, Ági Varsányi, Viktor Baranyai, András Lantos, Bence Hégli

Actors/drama teachers: Katalin Kuklis, Kristóf Horváth, Nóra Czuczor

Scenery, costume, visual: Gabriella Kiss
Choreographer: Dusan Hégli
Dramaturgist: Edit Romankovics
Participatory theatre expert: János Kardos
Director: András Sereglei

Running time: appr. 150 mins

The performance is a co-production of Ifjú Szívek Táncszínház (Slovakia), Vekker Műhely (Slovakia), and Káva Kulturális Műhely.

 

The complex theatre in education (TiE) performance is a theatrical education program, in which theatre scenes, episodes and related conversations, as well as specific interactive art forms are joined in an organic way to further process and think a story. The topic of the performance is always a moral/social problem, which examines humans as social beings living in the present. It is a genre in which the viewer is placed in the centre, and the creating presence of the viewer has become a method. The aim is not to convey the message in these performances, but to focus on the dilemma. The creators try to emphasise a question or a problem, where examination from multiple perspectives is inevitable. A forum is created, where opinions can be negotiated, different thoughts can be confronted in order to establish a dialogue between the participants. It is a dialogue between students sitting in the same classroom, students and adults with different values, worldviews. These performances can also be perceived as performative social interventions.

Explanatory and related concepts: interactive theatre / applied theatre / performative method / theatrical education / complex theatrical educational performance / social intervention / drama pedagogy / participation theatre / TiE – Theatre in Education / theatre pedagogy / political theatre / constructivist pedagogy / non-formal education / community theatre

 

Trap City

TRAP CITY

Participatory theatre performance for students of 8th grade, elementary school and 9-10th grade of high school

For the Insta-generation, content equals themselves. One has to be ready to create content in the form of a photo or a vlog anytime, anywhere, for the followers exclusively. However, the rising number of followers and the continuous content creation are actually difficult work and raise moral issues for which we are not prepared by big tech companies. Could I create content about one of my friends’ life in a way he/she doesn’t really know about? How far could I go in the chase for followers? To what extent am I responsible for my content? How much are likes and subscriptions worth for us? When is it considered a violation of privacy rights? The Trap City ARS performance examines these issues in the web2 area, and tries to think together with the participating youngsters.

Pre text: B.Brecht: The Rise and Fall of the City of Mahagonny.
Based on the actors’ improvisations.

Writer, dramaturge: Bodor, Panna
Music: Kurta, Niké; Lakatos, Dániel
Assistant director: Kurta, Niké
Participating theater consultants: Bori, Viktor; Kardos, János
Director, production designer: Sereglei, András

Actor/Drama teachers: Kurta, Niké; Kárpáti, Liza; Hegedűs, Ágnes; Lakatos, Dániel; Kállai, Ákos
The performance was supported by the National Cultural Fund.

Premiere: 9th, October, 2018

Playtime: ca. 120′

The complex theatre in education (TiE) performance is a theatrical education program, in which theatre scenes, episodes and related conversations, as well as specific interactive art forms are joined in an organic way to further process and think a story. The topic of the performance is always a moral/social problem, which examines humans as social beings living in the present. It is a genre in which the viewer is placed in the centre, and the creating presence of the viewer has become a method. The aim is not to convey the message in these performances, but to focus on the dilemma. The creators try to emphasise a question or a problem, where examination from multiple perspectives is inevitable. A forum is created, where opinions can be negotiated, different thoughts can be confronted in order to establish a dialogue between the participants. It is a dialogue between students sitting in the same classroom, students and adults with different values, worldviews. These performances can also be perceived as performative social interventions.

Explanatory and related concepts: interactive theatre / applied theatre / performative method / theatrical education / complex theatrical educational performance / social intervention / drama pedagogy / participation theatre / TiE – Theatre in Education / theatre pedagogy / political theatre / constructivist pedagogy / non-formal education / community theatre

 

Found Child

FOUND CHILD

participatory theatre performance for primary school students of 5-6th grade

The central argument of the performance is the searching and potential finding of the identity as a precondition of an evoking personality with all its mistakes, morality and self-consciousness. The focus questions of the performance: Who I really am? What defines me? These questions are examined through the story of the 12-year-old Fanni, whose father turns out to be not her blood-related father. What to do, how to act next?

The performance is based on the script of Júlia Róbert: „Found Child”

Participating theatre consultants: Melinda Milák, Anita Patonay
Writer, dramaturge: Júlia Róbert

Director, visual director: Gábor Gyombolai
Actor/Drama teachers- drama schoolmasters: Dóra Botka, Tímea Frank, Zalán Haragonics, Márton Somorjai, Lina Zétényi

Premiere: 19th September 2018

Duration: appr. 120 mins

The complex theatre in education (TiE) performance is a theatrical education program, in which theatre scenes, episodes and related conversations, as well as specific interactive art forms are joined in an organic way to further process and think a story. The topic of the performance is always a moral/social problem, which examines humans as social beings living in the present. It is a genre in which the viewer is placed in the centre, and the creating presence of the viewer has become a method. The aim is not to convey the message in these performances, but to focus on the dilemma. The creators try to emphasise a question or a problem, where examination from multiple perspectives is inevitable. A forum is created, where opinions can be negotiated, different thoughts can be confronted in order to establish a dialogue between the participants. It is a dialogue between students sitting in the same classroom, students and adults with different values, worldviews. These performances can also be perceived as performative social interventions.

Explanatory and related concepts: interactive theatre / applied theatre / performative method / theatrical education / complex theatrical educational performance / social intervention / drama pedagogy / participation theatre / TiE – Theatre in Education / theatre pedagogy / political theatre / constructivist pedagogy / non-formal education / community theatre

 

Lady Lear

LADY LEAR

Interactive theatre project for adults where we tiptoe around a subject we usually aim to avoid: aging. What happens to the Mother, when she is no longer able to provide for herself, and starts to depend on her Sons? What happens to the three Children now that they have to take care of the Mother? Where does responsibility begin, and where does it end? How much do they have to sacrifice of their own lives in order to take care of the person who brought them up?
Crap of a situation with a capital C, served with lots of bittersweet humour.

Based on the dramatic work of the actors written by: Dániel Ambrus KOVÁCS,  Júlia RÓBERT

Actors: Viktor BORI, Gábor GYOMBOLAI, János KARDOS, Melinda MILÁK, András SEREGLEI, Gábor TAKÁCS

Set design: Dániel Ambrus KOVÁCS

Dramaturge: Júlia RÓBERT

Managing director & TIE consultant: Gábor GYOMBOLAI

Assistent director: Somorjai Márton

Director: Kovács Dániel Ambrus

 

Supporter: NKA

 

The Troll

TROLL

Digital media has become the most relevant means of communication for gen z and y. This is the new reality they have to navigate and exist within, also the one where they can truly express themselves. ‘Real’ and virtual reality interact with each other: virtual double-gangers and fake profiles can easily access all the shared, available, and often deeply personal data.   

The troll is a story of three young adults. Guy meets girl through a dating app, no strings attached, just a good prank to have a laugh about with the guys. She’ awkward, far from being his type and clearly does not belong to his world. If they have met somewhere else, anywhere else, he wouldn’t have batted an eye at her. But now, as her profile opens a door to a whole unknown world – to her reality – he has to ask himself what reality is, and what does it mean to have your own personal reality? Is there a difference between the realities, yours and hers? If so, what is the limit we can push them? In what amount can we influence, change, or just play with someone else’s reality?
And who gives us the permission to do so?

These are the focus points of our play to which we seek the answers – together with the participants.

Actors:
Dénes: András SEREGLEI
Hajni: Melinda MILÁK
Kornél:Gábor GYOMBOLAI

Dramaturge: Kornél LABODA
Written by, director: Dániel Ambrus KOVÁCS
Duration: cc. 120’

Our play is inspired by the drama of Witold Gombrowicz (Yvonne, princess of Burgundy) and is based on the improvisations of the actors. This play is recommended for a high school audience.

The Castaway Prince

Based on motives of Timothée de Frombelle’s novel, The Book of Pearl.

Every time a child says, ‘I don’t believe in fairies,’ there is a fairy somewhere that falls down dead.

(M. Barrie: Peter Pan)

Ilian, the young prince is exiled from The Land of Tales to a world where almost no one believes in tales. A girl named Olia follows him who was once a fairy. Olia remained a half fairy-tale creature so only those who believe in tales can see or hear her.

But in this world, it is difficult to find someone who believes in them and Ilian has forgotten where he came from. Olia has a difficult task. She has to make Ilin remember The Land of Tales. And time is pressing. The Land of Tales is in truble and only a real prince can save it from annihilation. Our story is about imagination, fantasy, childhood and the lack of these.

Age: 3-4 graders

Writer: Csaba Mikó

Stage design: Zsófia Mihály-Geresdi

Technician: Márton Somorjai

Actor / drama teachers: Viktor Bori, János Kardos, Anita Patonay

Director, dramaturge: Zsuzsanna Madák

Duration: kb. 135 min.

 

Secret door

SECRET DOOR

Duration: cc. 180’’

The Secret door speaks mostly for the teenagers as its main theme is how one can become an adult. During their adolescence their physical, mental and sexual maturation forces them (and their environment) to re-evaluate the different relationships they have. They have to reconstruct their views on peer and family relationships, their own connection to their changing bodies, and at the same time they have to adjust themselves to the  “adult world”. This is a tender, yet important age, where the focus is placed on finding their own identity, and also the societal roles they have to fulfill. On the way on finding their identity the role of their own body increases. Both self-acceptance and testing the limits are important to them: what can their bodies endure, where are their limits.   

The play tells the story of Julcsi, a 14 year old girl. She’s got an older brother, Lackó, who just turned 18 – they celebrate his birthday throughout the play. There’s also a family friend, few years older, than Lackó, who is usually present on the family occasions. At the beginning all three of them are in the father’s mechanic shop, creating a performance for the family celebration, which later the parents do not allow to perform: they say that it is too risky and  loaded and in general not fit for the occasion. After the parents go home the three of them also leave and go to party. Julcsi tells her parents that she’s having a sleepover at a friend of hers, but instead goes back to the car shop and they all start drinking with the boys. Morning comes and the parents find their children, 18 and 14, and the truth can not be covered anymore – there has been lying and heavy drinking going on. On top of all that the parents have the feeling that there happened something else, something they still don’t know, just suspect…

 

During the play we ‘open up’ scenes and offer the participants to examine Julcsi’s situation from different viewpoints. They can think together about what the 18th birtthday means to teenagers nowadays, where are the limits for a 14 year old when it comes to partying, also at the end of the play they can make a performance about the obstacles a 14 year old has to fight today.

While working on the the play we consulted a psychologist specialized on this age group.This play can help sahping the relation teenagers have to adult roles, and isnpire them for social responsibility. The feedback so far shows us that the young people understand the importance of this topic and find the honest conversation about societal roles to be important.

Director: Péter KÁRPÁTI
Actors: Júlia LADÁNYI, László KÁLÓCZ, Gábor GYOMBOLAI, Anita PATONAY, András SEREGLEI
Dramaturge: Anna ZSIGÓ
Duration: cc. 180’ (with one break)

The complex theatre in education (TiE) performance is a theatrical education program, in which theatre scenes, episodes and related conversations, as well as specific interactive art forms are joined in an organic way to further process and think a story. The topic of the performance is always a moral/social problem, which examines humans as social beings living in the present. It is a genre in which the viewer is placed in the centre, and the creating presence of the viewer has become a method. The aim is not to convey the message in these performances, but to focus on the dilemma. The creators try to emphasise a question or a problem, where examination from multiple perspectives is inevitable. A forum is created, where opinions can be negotiated, different thoughts can be confronted in order to establish a dialogue between the participants. It is a dialogue between students sitting in the same classroom, students and adults with different values, worldviews. These performances can also be perceived as performative social interventions.

Explanatory and related concepts: interactive theatre / applied theatre / performative method / theatrical education / complex theatrical educational performance / social intervention / drama pedagogy / participation theatre / TiE – Theatre in Education / theatre pedagogy / political theatre / constructivist pedagogy / non-formal education / community theatre

Peer Gynt

PEER GYNT

Under the skies men have a common saying:
“Man, to thyself be true!” But here, ‘mongst Trolls,
“Troll, to thyself be – enough!” it runs.


Our rendition of Peer Gynt is based on Ibsen’s original play, but instead of presenting the whole story we aimed to focus on a storyline that can hold great importance both for our teenager and (occasional) adult participants. In line with this the play explores the personal (and interpersonal) responsibility through the recurring motive of escape and running away from unresolved problems.


Actors: Viktor BORI, János KARDOS, Melinda MILÁK, Kata SZILÁGYI, Orsi TÓTH, Sándor TERHES

Dramaturge: Júlia RÓBERT

Scenography & costume design: Lili IZSÁK

TIE-consultant: Gábor TAKÁCS

Director: Csaba POLGÁR

This project was created in a cooproduction with the company HOPPart and was realised  of the Norvegian Grant.

Premiere:  11 april 2017

Duration: cc. 135’

The complex theatre in education (TiE) performance is a theatrical education program, in which theatre scenes, episodes and related conversations, as well as specific interactive art forms are joined in an organic way to further process and think a story. The topic of the performance is always a moral/social problem, which examines humans as social beings living in the present. It is a genre in which the viewer is placed in the centre, and the creating presence of the viewer has become a method. The aim is not to convey the message in these performances, but to focus on the dilemma. The creators try to emphasise a question or a problem, where examination from multiple perspectives is inevitable. A forum is created, where opinions can be negotiated, different thoughts can be confronted in order to establish a dialogue between the participants. It is a dialogue between students sitting in the same classroom, students and adults with different values, worldviews. These performances can also be perceived as performative social interventions.

Explanatory and related concepts: interactive theatre / applied theatre / performative method / theatrical education / complex theatrical educational performance / social intervention / drama pedagogy / participation theatre / TiE – Theatre in Education / theatre pedagogy / political theatre / constructivist pedagogy / non-formal education / community theatre