Béla Pintér and Company have worked together since 1998, establishing themselves as one of the most significant and innovative independent theatre companies in Hungary, winning the Hungarian Critics' Award four times, three years in a row. They are equally at ease with authentic Hungarian folk art and postmodern forms of theatrical expression. Béla Pintér trained as a dancer and performer working with the some of the leading experimental theatre groups of the 80’s and 90’s.
Dievouchka is a monochromatic musical theatre piece concerning Hungary's participation in World War II, blending late Romantic opera with Hungarian film songs from the 1940’s.
“In Dievouchka, we see staff officers, officers, privates and their kindred, Jews on forced labour, mingling with each other. It is them, who make the story proceed in the army barracks, the dancehall and out in the remote and vast Russian stieppe. Its presentation is elevated and all-black-and-white, both in the broad and the strict sense. The time is World War II: however, the story-line, as opposed to giving a historic account, is merely an assumption of the epoch. We created Dievouchka’s particular musical style by blending elements of Puccini’s late romanticism with operetta and radio hits of the day, some of them emblematic until the present day. Throughout the whole play we sing. What the audience see, is no operatic work, it is pure theatre, with actors, whose voices are certainly less beautiful, pacing in an extremely measured, odd way. We, who were born into perhaps happier times, with this work, would like to commemorate that tragical-fated generation, who, likewise of 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 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
THURÓCZY Szabolcs, SZALONTAY Tünde, BENCZE Sándor, HERCZEG Tamás, QUITT László, FRIEDENTHAL Zoltán, CSATÁRI Éva, ENYEDI Éva, NAGY-ABONYI Sarolta, TÓTH József, PINTÉR Béla
Musicians:
KÉMÉNCZY Antal – piano
VEÉR Bertalan – violin
PELVA Gábor - violin, guitar, percussions
NYÍRI László - violin, percussions
KERTI István – clarinet
ROMÁN Géza – trumpet
KELEMEN Lajos/ PÁLINKÁS PÉTER – trombone
PÓTA György – double-bass
Conductor: BENCSIK Pál
Composer: DARVAS Benedek
Scoring: DARVAS Ferenc
Costumes: BENEDEK Mari
Set: HORGAS Péter
Music Teacher: BERECZ Bea
Lighting Design: TAMÁS Gábor
Sound: REMBECZKI János
Technical Assistants: SÁNTA Sándor, VARGA László
Director's Assistant: HAJDÚ Rozi
Marketing assistant: INHAIZER Gyula
Production assistant: URI Eszter
Written and Directed by: PINTÉR Béla
Dievouchka is a monochromatic musical theatre piece concerning Hungary's participation in World War II, blending late Romantic opera with Hungarian film songs from the 1940’s.
“In Dievouchka, we see staff officers, officers, privates and their kindred, Jews on forced labour, mingling with each other. It is them, who make the story proceed in the army barracks, the dancehall and out in the remote and vast Russian stieppe. Its presentation is elevated and all-black-and-white, both in the broad and the strict sense. The time is World War II: however, the story-line, as opposed to giving a historic account, is merely an assumption of the epoch. We created Dievouchka’s particular musical style by blending elements of Puccini’s late romanticism with operetta and radio hits of the day, some of them emblematic until the present day. Throughout the whole play we sing. What the audience see, is no operatic work, it is pure theatre, with actors, whose voices are certainly less beautiful, pacing in an extremely measured, odd way. We, who were born into perhaps happier times, with this work, would like to commemorate that tragical-fated generation, who, likewise of 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 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
THURÓCZY Szabolcs, SZALONTAY Tünde, BENCZE Sándor, HERCZEG Tamás, QUITT László, FRIEDENTHAL Zoltán, CSATÁRI Éva, ENYEDI Éva, NAGY-ABONYI Sarolta, TÓTH József, PINTÉR Béla
Musicians:
KÉMÉNCZY Antal – piano
VEÉR Bertalan – violin
PELVA Gábor - violin, guitar, percussions
NYÍRI László - violin, percussions
KERTI István – clarinet
ROMÁN Géza – trumpet
KELEMEN Lajos/ PÁLINKÁS PÉTER – trombone
PÓTA György – double-bass
Conductor: BENCSIK Pál
Composer: DARVAS Benedek
Scoring: DARVAS Ferenc
Costumes: BENEDEK Mari
Set: HORGAS Péter
Music Teacher: BERECZ Bea
Lighting Design: TAMÁS Gábor
Sound: REMBECZKI János
Technical Assistants: SÁNTA Sándor, VARGA László
Director's Assistant: HAJDÚ Rozi
Marketing assistant: INHAIZER Gyula
Production assistant: URI Eszter
Written and Directed by: PINTÉR Béla
