Benutzer:Devil m25/Liste der Theater in Budapest

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Ungarn, und vor Allem die Hauptstadt hat das ganze Jahr über ein reiches Angebot an unterschiedlichen kulturellen Veranstaltungen von klassischer Musik über Popkonzerte bis zu Theateraufführungen in englischer und deutscher Sprache.

Im Frühling und Herbst finden nicht nur in Budapest, sondern in mehreren ungarischen Städten die in Ungarn wohl bekannten und populären Frühlings- und Herbstfestivals statt. Hier treten nicht nur die bekanntesten ungarischen Künstler, sondern auch international bekannte Größen im Bereich Jazz, Klassik, Tanzkultur und Theater auf.

Artus Theater Truppe [2]

ARTUS Studio Budapest - 1116 Sztregova utca 7.

ARTUS – Gábor Goda Company

'Humans are judged not upon what they say but what they do. The abstraction of their deeds is dance itself. The essence of the dramaturgy of the Artus performances is rhythm, visuality, unexpected turns and contradictory deeds. The scenes are organized around a central idea and they become analogies to this main theme. ' (Gábor Goda)

The company was founded in 1985 by Gábor Goda. Initially it was a dance theatre company, but in teh past few years the performances incorporate other artistic forms beside dance: visual elements, (computer, film, pieces of fine arts), live music, dialogues. Artus was the first to experiment with breaking the boundaries of artistic genres, by now it is one of the most remarkable company in the country. This continuous experimenting conveys the aim of the creation of such a theatre where all tools of the performer and the space can be unwrapped and expolited.

Artus - Gábor Goda Company is frequent guest of festivals within the country and abroad, where they win different prizes.

Gábor Goda’s works often find their starting point in a mythical character and the myth attached to it. His stage works move freely in space, time and across cultures, they wander in our collective memory, and also develop associations of the present.

n 1997 Artus founded its artistic laboratory for contemporary arts. In a huge factory building about 30 dancers, choreographers, actors, set and costume designers, composers, painters, architects and sculptors are working. They do not only share the space but also help, inspire each other's work breaking the boundaries between the various branches of arts, looking for ways of collaboration.

'The ‘presence’ (being vigilant in the moment, looking onto the past, future and the world of dreams from there) is the basis of not only our theatre but also my whole concept of life.

The images and happenings are all analogies to a central theme that comprise the future possibilities and the interpretation of the past as concentric circles. These analogies are not separate from one another but all add up to the present, to the presentation of the ‘phenomenon’.

Time is nothing but the illusion born from the chain of our states of consciousness, it does not exist. Thus the present is nothing but an imaginary point of the line of non-existent time, which separates the endless from what we call future and past.

We want to seize the moment, and analyse the various layers of this moment.

In the course of your work we start from the personal myth, the memories and experiences of the company members, so that the creative process takes us to the world of phenomena. Myth is such a steady point on which the individual lives can collide. We compress the scenes sprung from the personal experiences until they receive general validity through the generated inner energy.’ (Gábor Goda)

Stele (2006) Live memorial reconstruction

'There are twoi kinds of time: the now and the not now. The act of the now: the ritual of human sacrifice. Watch out! Out tamenness seeming to be good manners is nothing else but ritaul vigilance that has evloved over centuries. We know and fear that each of our little acts has its consequence.' (Gábor Goda)

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Don Quixote Mausoleum (2005)

Pseudo-theatre and concert exhibition

A trial to set free the grave of the Knight of free from the hands of the Nobles of Rationality Within this land even foolishness is beyond comprehension! People! Join us, let’s set off for the unknown, for setting the grave free!

Theatre, dance, fine arts, music, film and installation

Does our imagination have an impact on the world? Is it crazy or is it our obligation to make our dreams come true? The 400-year-old figure of Don Quixote is another opportunity to go round these questions.

You can find more information about the perfromance, the creators and the technical details under the menu 'DOn Quijote mausoleum'.

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Fox Spirits (2005) The starting point of the performance was the fox spirits frequently occurring in Chinese tales that often take the shape of human beings and has a very sensual nature. It lifts its head in the moment of death. It crawls on the roof, amongst the roofbeams. People fear them.

You can find more information about the perfromance, the creators and the technical details under the menu 'Fox Spirits'.

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Retina (2004) A man falls off the roof, landing with a tile in his hand. He cannot see anything, cannot hear anything, cannot move, but he is alive. While falling he looks into the windows of the four levels of the building and his eyes – like a camera - record the pictures seen there. These pictures slide into one as if they had been photographed on top of one another. This is his last and only memory. Sitting on his bed in the hospital frozen in the position as he has arrived on the ground he creates a completely new world in his head using the details of this picture.

From now on all that is created in his head will appear on his retina. Does it matter if the picture is projected on the retina from outside or inside?

You can find more information about the perfromance, the creators and the technical details under the menu 'Retina'.

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Snow Queen (2003)

Contemporary dance performance for children and adults based on the tale Snow Queen by Andresen

‘Don’t you see how enormous this little girl is? All by her own, on barefoot, she has started off for the unknown, and people, animals stand by her to help her. We cannot give her power, her power lies in her good heart and innocent soul. If she cannot find the way to the palace of the Snow Queen on her own and cannot take out the glass splinters from Kay’s eye and heart we will not be able to help her, either.’

You can find more information about the perfromance, the creators and the technical details under the menu 'Snow Queen'.

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Osiris Coverage (2002)

Distinctiveness, poetry, myth, absurdity. The descendents of Osiris – dismembered into fourteen pieces – and Isis re-enact the old story. What seems invulnerable from outside, is decaying inside and will disintegrate in the end. An isolated, sterile world cannot escape decomposing from inside. Images of harmony are always gruesomely enigmatic. Profane rites, events engendered by pictorial and musical phenomena. THEATRE OF DEEDS.

You can find more information about the perfromance, the creators and the technical details under the menu 'Osiris Coverage'.

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Cain's Hat (2000) In the beginning was the Stone... Stone in the heart. Stone in the hand. Stone in the head. You could also be Cain if suddenly you were to become one of many, where once you were the only One. Where everything that once belonged to you becomes common property. And where is Abel? Poor Abel. (Poor Stone).

You can find more information about the perfromance, the creators and the technical details under the menu 'Cain's Hat'.

Atlantis Theater [4]

Merlin Theater Budapest, 1052 Gerlóczi Strasse 4

Das Atlantis Theater wurde 193 von Ádám horgas und Éva Molár egrőndet. Sie haben 1995 mit Hilfe von István Nagy angefangen, mit einem selbstständigen Ensemble im VSZM Gemeindehaus zu arbeiten und nach zweijähriger intensiver Vorbereitung hatten sie ihre erste Aufführung. Parallel zu den Premieren läuft die Schauspielausbildung. Auf Initiative von Tamás Jordán setze das Ensemble ab dem Jahr 2000 seine Arbeit als "Merlin Theater" fort und spielte seit her auch einige Repertoire-Stücke. Als experimentelles Theater schufen sie mit ihren Produktionen ihren eigenen Stil, der eine Verbindung der traditionellen Prosa-Schauspielkunst über Elemente des Bewegunstheaters hin zur Visualität einer Schauspielbühne darstellt.

Aufführungen

auf der Homepage

Partner

-- Deutsche Bühne Szekszárd (www. ?) HP

Bárka Theater [10]

Dieses Theater gibt es nicht mehr.

Ódry-Bühne

(Die Bühne der Ungarischen Uiversität (Hochschule?) für Schauspiel- und Filmkunst (Magyar Színház- és Filmművészeti Főiskola war früher, jetzt vielleicht Egyetem)