Which way to tilt?

After one of our Hamlets, there was a meeting organized by the István Örkény Theatre and the Hungarian Shakespeare Committee. Researchers of Shakespeare’s life and work held a conversation with the director and actors in the circle of the audience interested in the play and the author as well as the creators and the theatre.

(Photo: Gabriella Vid)

That was the time when Csaba Polgár told us how long and often they exchanged words with Laci Bagossy about Hamlet’s driving forces. What is his deepest intention? What is the strongest motivation behind his deeds? What kind of character is he actually? How much does madness really get him into its power? And, after all, they came to the conclusion that it can and should not be decided in advance. From performance to performance, it’s always at stake. And when Csabi as Hamlet balances through the very thin line that divides madness from normality, helplessness from action, despair from confidence, the determined from the undecided, the probable from the improbable, then and only then and there will it be decided where to turn.

This is the anxiously difficult and extremely exciting at the same time, that leaving the stage, going out of the theatre, everything depends in the same way – for the sake of duality within us – on that moment. Waving between our inclinations towards good and bad, when and where will we finally tilt to, and why?

Gabriella Vid


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