Theatre - in the age when it was still a part of religious life, but was already theatre, liberated the spiritual energy of the spectator by incorporating and desecrating, breaking the myth at the same time. As a result of this process, the spectator could once more see his own truth in the truth of the myth and by the element of fear reach a catharsis. It is not by chance that the notion of parodia sacra appeared in the Middle Ages. The most that theatre can do is contribute to the crystallization of the myth... The confrontation is no more than the weighing of ourselves in the light of all that is of traditional value and the performance, somewhat like a converter switches our experiences into the experiences of long gone generations (and vice versa). In the play, the collision of traditional values results in this leap and it seems as though it were the only possibility for the myth to function in the theatre. It is in this double game of the values, of attachment and breaking away, of unveiling and submission that true renewal can be found.

{Grotowski}

King St. Ladislaus is a key hero in our history functioning as a bridge between cultures, generations, regions, and nations. In our relation to him we are searching for up-to-date answers about the mission of man in life. It is our not concealed aim to strengthen the row of the from our theatre history almost missing line of chronicle plays in a contemporary, impressive, long-hidden, specifically Hungarian theatrical form-language.

The play was written by Márta Tömöry on the basis of Chronicles, one-time Ladislaus’song fragments, kermes songs, incantations, folk ditties, and 20th century folk collections.

The dismountable, wheeled stage of the show was notched in century old boards. Its engravings and painted pictures conjure the fresco series “St. Ladislaus”. With idol sized giant puppet, masque changing actors, punch-theatre, the ancestors are recalled, who in the mid 20th century were still living in the folk consciousness as vivid visions. Elements of mimetic ancient theatre, (sibirian two faced figure), instruments of no-theatre (masks, symbolic dances), idols, and puppets are used.

Eastern and ancient instruments are played; time-cuts are interlinked by recitals.

The scenes:

  1. ENTRY TO THE PLACE OF WORSHIP
  2. THE BEGGARS VISIONS:
  3. JALPI'S DANCE - THE AGE OF THE APOCALYPSE: THE BURNING DOWN OF A CHURCH DEER-DANCE REVELATION OF MARY
  4. KING LASZLO AND THE FOOLMAN AT THE CAVE OF ANCHORITE FROM BAKONYBÉL
  5. THE VISION OF KING LASZLO: THAT WHITE WEASEL
  6. THE ANCESTORS ATTACK: THE CURSE OF VAZUL
  7. AN APOCRYPHAL APPARITION OF MARY - PROCESSIONAL
  8. THE DUEL OF LASZLO AND SALAMON AT NYITRA IN 1070
  9. TIMELEAP, IN 1550: THE WELL KNOWN THEOLOGICAL CONTROVERSY OF VÁRAD, OR THE FALL OF NAGYVÁRAD (PUPPET-SHOW)
  10. SALAMON'S TRACES IN THE SNOWFALL
  11. A STORY ABOUT THE GREAT-BEAR - OR ELSE THE FOOL AND THE BEGGAR INCRIMINATE THE DEFENDING SAINT OF THE FRONTIER
  12. THE LIBERATING DANCE OF THE DEER - PROCESSIONAL
  13. THE DANCE OF THE CHERRY FLOWERS THAT BLOOM AT CHRISTMAS
  14. CLOSING SONG



The performing artists:

Szász, Kozma, Tömöry (Photo: Széman)

Szász, Kozma, Tömöry
(Photo: Széman)

Szász, Kozma (Photo: Széman)

Szász, Kozma
(Photo: Széman)

András Kozma (Photo: Széman)

András Kozma
(Photo: Széman)

Kozma András (Photo: Széman)

Tömöry, Szász, Kozma,Fehérváry (Photo: Széman)

Szász, Kozma, Tömöry (Photo: Széman)

Tömöry, Fehérváry, Szász
(Photo: Széman)

Lilla Fehérváry  (Photo: Széman)

Lilla Fehérváry
(Photo: Széman)

Tömöry, Kozma (Photo: Széman)

Tömöry, Kozma
(Photo: Széman)

Szász, Kozma (Photo: Széman)

Szász, Kozma
(Photo: Széman)

Tömöry, Kozma (Photo: Széman)

Tömöry, Kozma
(Photo: Széman)

Kozma, Szász (Photo: Széman)

Kozma, Szász
(Photo: Széman)

András Kozma (Photo: Széman)

András Kozma
(Photo: Széman)

Zsolt Szász (Photo: Széman)

Zsolt Szász
(Photo: Széman)

Szász,Kozma (Photo: Széman)

Szász, Kozma
(Photo: Széman)

Fehérváry, Bálint, Vaskó (Photo: Széman)

Fehérváry, Bálint, Vaskó
(Photo: Széman)

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