The performance on 22 May is presented with English subtitles.
Béla Pintér and Company have been working together since 1998, establishing themselves as one of the most significant and innovative independent theatre companies in Hungary, and winning the Hungarian Critics' Award four times, including three years in a row. They are equally at ease with authentic Hungarian folk art and postmodern forms of theatrical expression. Béla Pintér himself trained as a dancer and performer, and during the 1980’s and 1990’s worked with the some of the leading experimental theatre groups of the time.
‘Dievouchka’ is a musical theatre piece concerning Hungary's participation in World War II, blending late Romantic opera with Hungarian film songs from the 1940’s, and presented visually in monochromatic colours.
“In ‘Dievouchka’, we see staff officers, officers, privates and their kindred, as well as Jews on forced labour, mingling with each other. It is these characters who move the story forward, in army barracks, dancehalls and out on the remote and vast Russian steppe. The piece’s presentation is elevated and takes place in black-and-white, both in the strict and broader sense. The time is World War II, however, the story-line, as opposed to giving a historical account, is merely an assumption of the epoch. ‘Dievouchka’’s distinct musical style is created by blending elements of Puccini’s late romanticism with operetta and radio hits of the day, some of them still symbolic to this day. Although there is singing throughout the whole play, ‘Dievouchka’ is not an operatic work, but rather pure theatre, with actors whose voices are certainly less than beautiful, pacing in an extremely measured, odd way. ‘We, who were born into perhaps happier times, with this work wish to commemorate that ill-fated generation, who, similarly to us, cherished the hope of a brighter future. Everyone has got his ‘Dievouchka’’. (Béla Pintér)
“‘Dievouchka’ is an autonomous musical play, the composition of which is of a high artistic standard, luscious in prosodic and musical gags as well as abrupt rhythmic twists. Its performers are vocalists – better described as singing actors - who present the work with an air of sincere dignity. This means that they do not make any effort to be funny, since their characters are, by their own nature, funny. What lies at the core of their humour is the entirely unique way in which they observe and discuss our world. As opposed to seeking out comedy, they investigate and expose the ambiguity of profound and sacred issues, lingering constantly within such sensitive spheres of reverence as World War II, the Russian front, Hungary’s lost territories and annexed towns and cities, Jews living under forced labour and persecution, the figure of Admiral Horthy (Hungary’s Premier at the time), and the iconic diva of the day, Katalin Karády. Pintér, the writer-director, is 33 years old. He, along with his cast, treats all of these historical events as if they were part of his own past, dwelling authentically in them and reincarnating their shadows. To sum up, ‘Dievouchka’ is an extraordinarily gifted performance, which blends solemn pathos and vulgarity. Its retrospective, nostalgic view steers the spectator back to scrutiny of the present day.” (Péter Molnár Gál, critic)
‘Dievouchka’ is an autonomous musical play, the composition of which is of a high artistic standard; luscious in prosodic and musical gags, as well as abrupt rhythmic twists. Its performers are vocalists – better described as singing actors - who represent the work with sovereign dignity. This means that they do not make any efforts to be funny, since they are indeed funny. What lies in the core of their humour is the entirely unique way in which they observe and discuss our world. As opposed to seeking the comic element, they discover and expose the ambiguity of grave or sacred issues, lingering constantly in such sensitive spheres of reverence as World War II, the Russian front, Hungary’s lost territories - with its major cities annexed, Jews living under forced labour and persecution, the figure of Admiral Horthy - Hungary’s Governor at the time, and the iconic diva of the day, Katalin Karády. Pintér, the author-director is 33 years old. He, along with his companions, treats all of these historical events as if part of his own past, dwelling authentically in them, reincarnating their shadows. In summary, ‘Dievouchka’ is an extraordinarily gifted performance, which blends solemn pathos and vulgarity. Its retrospective, nostalgic view steers the spectator back to the scrutiny of the present day. (Péter Molnár Gál, critic)
With
Szabolcs THURÓCZY, Tünde SZALONTAY, Sándor BENCZE, Tamás DEÁK, László QUITT, Zoltán FRIEDENTHAL, Éva CSATÁRI, Éva ENYEDI, Sarolta NAGY-ABONYI, József TÓTH, Béla PINTÉR.
Musicians:
Antal KÉMÉNCZY– piano
Bertalan VEÉR – violin
Gábor PELVA - violin, guitar, percussion
László NYÍRI - violin, percussion
István KERTI – clarinet
Géza ROMÁN – trumpet
Lajos KELEMEN / Péter PÁLINKÁS – trombone
György GPÓTA – double bass
Conductor: Pál BENCSIK
Composer: Benedek DARVAS
Arrangements: Ferenc DARVAS
Costumes: Mari BENEDEK
Set: Péter HORGAS
Music Teacher: Bea BERECZ
Lighting Design: Gábor TAMÁS
Sound: János REMBECZKI
Technical Assistants: Sándor SÁNTA, László VARGA
Director's Assistant: Rozi HAJDÚ
Marketing assistant: Gyula INHAIZER
Production assistant: Anna HIDVÉGI
Written and Directed by: Béla PINTÉR
Béla Pintér and Company have been working together since 1998, establishing themselves as one of the most significant and innovative independent theatre companies in Hungary, and winning the Hungarian Critics' Award four times, including three years in a row. They are equally at ease with authentic Hungarian folk art and postmodern forms of theatrical expression. Béla Pintér himself trained as a dancer and performer, and during the 1980’s and 1990’s worked with the some of the leading experimental theatre groups of the time.
‘Dievouchka’ is a musical theatre piece concerning Hungary's participation in World War II, blending late Romantic opera with Hungarian film songs from the 1940’s, and presented visually in monochromatic colours.
“In ‘Dievouchka’, we see staff officers, officers, privates and their kindred, as well as Jews on forced labour, mingling with each other. It is these characters who move the story forward, in army barracks, dancehalls and out on the remote and vast Russian steppe. The piece’s presentation is elevated and takes place in black-and-white, both in the strict and broader sense. The time is World War II, however, the story-line, as opposed to giving a historical account, is merely an assumption of the epoch. ‘Dievouchka’’s distinct musical style is created by blending elements of Puccini’s late romanticism with operetta and radio hits of the day, some of them still symbolic to this day. Although there is singing throughout the whole play, ‘Dievouchka’ is not an operatic work, but rather pure theatre, with actors whose voices are certainly less than beautiful, pacing in an extremely measured, odd way. ‘We, who were born into perhaps happier times, with this work wish to commemorate that ill-fated generation, who, similarly to us, cherished the hope of a brighter future. Everyone has got his ‘Dievouchka’’. (Béla Pintér)
“‘Dievouchka’ is an autonomous musical play, the composition of which is of a high artistic standard, luscious in prosodic and musical gags as well as abrupt rhythmic twists. Its performers are vocalists – better described as singing actors - who present the work with an air of sincere dignity. This means that they do not make any effort to be funny, since their characters are, by their own nature, funny. What lies at the core of their humour is the entirely unique way in which they observe and discuss our world. As opposed to seeking out comedy, they investigate and expose the ambiguity of profound and sacred issues, lingering constantly within such sensitive spheres of reverence as World War II, the Russian front, Hungary’s lost territories and annexed towns and cities, Jews living under forced labour and persecution, the figure of Admiral Horthy (Hungary’s Premier at the time), and the iconic diva of the day, Katalin Karády. Pintér, the writer-director, is 33 years old. He, along with his cast, treats all of these historical events as if they were part of his own past, dwelling authentically in them and reincarnating their shadows. To sum up, ‘Dievouchka’ is an extraordinarily gifted performance, which blends solemn pathos and vulgarity. Its retrospective, nostalgic view steers the spectator back to scrutiny of the present day.” (Péter Molnár Gál, critic)
‘Dievouchka’ is an autonomous musical play, the composition of which is of a high artistic standard; luscious in prosodic and musical gags, as well as abrupt rhythmic twists. Its performers are vocalists – better described as singing actors - who represent the work with sovereign dignity. This means that they do not make any efforts to be funny, since they are indeed funny. What lies in the core of their humour is the entirely unique way in which they observe and discuss our world. As opposed to seeking the comic element, they discover and expose the ambiguity of grave or sacred issues, lingering constantly in such sensitive spheres of reverence as World War II, the Russian front, Hungary’s lost territories - with its major cities annexed, Jews living under forced labour and persecution, the figure of Admiral Horthy - Hungary’s Governor at the time, and the iconic diva of the day, Katalin Karády. Pintér, the author-director is 33 years old. He, along with his companions, treats all of these historical events as if part of his own past, dwelling authentically in them, reincarnating their shadows. In summary, ‘Dievouchka’ is an extraordinarily gifted performance, which blends solemn pathos and vulgarity. Its retrospective, nostalgic view steers the spectator back to the scrutiny of the present day. (Péter Molnár Gál, critic)
With
Szabolcs THURÓCZY, Tünde SZALONTAY, Sándor BENCZE, Tamás DEÁK, László QUITT, Zoltán FRIEDENTHAL, Éva CSATÁRI, Éva ENYEDI, Sarolta NAGY-ABONYI, József TÓTH, Béla PINTÉR.
Musicians:
Antal KÉMÉNCZY– piano
Bertalan VEÉR – violin
Gábor PELVA - violin, guitar, percussion
László NYÍRI - violin, percussion
István KERTI – clarinet
Géza ROMÁN – trumpet
Lajos KELEMEN / Péter PÁLINKÁS – trombone
György GPÓTA – double bass
Conductor: Pál BENCSIK
Composer: Benedek DARVAS
Arrangements: Ferenc DARVAS
Costumes: Mari BENEDEK
Set: Péter HORGAS
Music Teacher: Bea BERECZ
Lighting Design: Gábor TAMÁS
Sound: János REMBECZKI
Technical Assistants: Sándor SÁNTA, László VARGA
Director's Assistant: Rozi HAJDÚ
Marketing assistant: Gyula INHAIZER
Production assistant: Anna HIDVÉGI
Written and Directed by: Béla PINTÉR
