{"id":1130,"date":"2019-01-03T15:16:14","date_gmt":"2019-01-03T15:16:14","guid":{"rendered":"https:\/\/www.critical-stages.org\/18\/?p=1130"},"modified":"2022-02-06T20:51:51","modified_gmt":"2022-02-06T20:51:51","slug":"timisoara-festival-pierces-through-past-and-future-nationalisms","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/18\/timisoara-festival-pierces-through-past-and-future-nationalisms\/","title":{"rendered":"Timi\u015foara Festival Pierces through Past and Future Nationalisms"},"content":{"rendered":"\n<p><strong>Matti Linnavuori<\/strong><a href=\"#end\" name=\"back\">*<\/a><\/p>\n\n\n\n<p class=\"has-light-green-cyan-background-color has-background\"><strong>TESZT Euroregional Theatre Festival in Timi\u015foara, Romania, <br>May 20-27, 2018<\/strong><\/p>\n\n\n\n<p>In Timi\u015foara, theatre is different. I am left gaping in amazement at the courage of the\nperformers and the sharpness of thought in the writing. The theatre of Kokan Mladenovi\u0107\u2014though not only his\u2014dares to make relevant and well-founded\npolitical statements.<\/p>\n\n\n\n<p>Teszt Festival is organised\nby the Hungarian-language State Theatre \u201cCsiky Gergely,\u201d in Romania\u2019s Timi\u015foara, centre of the Banat region and future capital\nof European Culture (2021).<\/p>\n\n\n\n<p>The festival\u2019s main sphere of interest is the Balkans\u2014geographically,\npolitically, aesthetically. Attila Bal\u00e1zs, to spell his name first-name-first, contrary\nto Hungarian grammar, leads the festival, which had more than 300 offers for\nthe 25 spots in the program of Teszt\u2019s 11th edition.<\/p>\n\n\n\n<p>The Balkans and the Visegrad countries not only have their share of problems, but they tend to present their European neighbours with problems, for example, with distorted nationalism, so\nfashionable today. This is a main point of attack and ridicule in <em>Jami District<\/em> (\u201cyummy\u201d), a co-production\nof companies from three countries, Bitef Theatre, CzkTivat, Maszk and Think\nTank Studio.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"407\" data-attachment-id=\"1135\" data-permalink=\"https:\/\/www.critical-stages.org\/18\/timisoara-festival-pierces-through-past-and-future-nationalisms\/tesztmatti-photo-4\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-4.jpg?fit=700%2C407&amp;ssl=1\" data-orig-size=\"700,407\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"tesztmatti photo 4\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Nina Neskovic, Jelena Graovac and Isidora Simijonovic declaring truths of Serbian, Bosnian and Croatian politicians, scientists and newscasters in Jami District. Photo by www.teszt.ro\ufeff&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-4.jpg?fit=700%2C407&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-4.jpg?resize=700%2C407&#038;ssl=1\" alt=\"\" class=\"wp-image-1135\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-4.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-4.jpg?resize=300%2C174&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>Nina Neskovic, Jelena Graovac and Isidora Simijonovic declaring truths of Serbian, Bosnian and Croatian politicians, scientists and newscasters in <em>Jami Distric<\/em>t. Photo: <a rel=\"noreferrer noopener\" aria-label=\"www.teszt.ro (opens in a new tab)\" href=\"http:\/\/www.teszt.ro\" target=\"_blank\">www.teszt.ro<\/a><\/figcaption><\/figure><\/div>\n\n\n\n<p>Jami District is a tiny bit of land ignored until now by Serbia, Croatia\nand Bosnia-Hercegovina. But when the world\u2019s oldest skeleton is found in Jami,\nthe three countries send their soldiers to claim the area and, consequently, to\nclaim parenthood to all mankind.<\/p>\n\n\n\n<p>Three apes greet us, when we enter the performance space of <em>Jami District<\/em>, written by Milena Bogavac\nand directed by Kokan Mladenovi\u0107. The apes soon remove their masks and begin to\ntalk, one in Serbian, one in Croatian and one in Bosnian. They tell us how the\ninhabitants of Jami became apish performers in a theme park. They are young\nactresses Isidora Simijonovi\u0107, Jelena Graovac and Nina Neskovi\u0107, and their\nroles range from politicians to news anchors, from soldiers to teachers. Many\nscenes take too long, which I see as proof that the conflicts shown cannot be\nsolved with any swift intervention. Form and content unite.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"video-1\">Video 1<\/h6>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"750\" height=\"422\" src=\"https:\/\/www.youtube.com\/embed\/CTsDSkBAG98?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><\/figure>\n\n\n\n<p>No matter what the profession in a given scene, the characters praise\ntheir country and its cultural heritage while insulting those of the other two.\nThese tirades are exaggerated to disgusting ridiculousness, but one senses that\nthe show keeps to its documentary base even here.Outsider that I am, I read\nthis against the background of the 1990s, when nationalistic tensions surfaced\nas a war in ex-Yugoslavia, but the introductory text of <em>Jami District<\/em> chooses not to look back but ahead: will the working\nclass of the future, that is. robots, retain a national consciousness? This\nalso explains the apes at the start of the show\u2014after the United Nations\npeacekeeping managed to calm Jami, the international community leased the area\nto a global company, which transformed it into a theme park, with the\nobligation to employ the local inhabitants. What a conclusion: nationalism\nproduced war, internationalism produces modern slavery.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"400\" height=\"599\" data-attachment-id=\"1133\" data-permalink=\"https:\/\/www.critical-stages.org\/18\/timisoara-festival-pierces-through-past-and-future-nationalisms\/tesztmatti-photo-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-2.jpg?fit=400%2C599&amp;ssl=1\" data-orig-size=\"400,599\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"tesztmatti photo 2\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;The rebellious worker Zrenjanin (Dejan Karle\u010dik) surrounded by university students (Edit Tot Mi\u0161kelin, left, and Jovan Tora\u010dki), in Zrenjanin. Photo by www.teszt.ro&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-2.jpg?fit=400%2C599&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-2.jpg?resize=400%2C599&#038;ssl=1\" alt=\"\" class=\"wp-image-1133\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-2.jpg?w=400&amp;ssl=1 400w, https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-2.jpg?resize=200%2C300&amp;ssl=1 200w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><figcaption>The rebellious worker Zrenjanin (Dejan Karle\u010dik) surrounded by university students (Edit Tot Mi\u0161kelin, left, and Jovan Tora\u010dki), in<em> Zrenjanin<\/em>. Photo: <a rel=\"noreferrer noopener\" aria-label=\"www.teszt.ro (opens in a new tab)\" href=\"http:\/\/www.teszt.ro\" target=\"_blank\">www.teszt.ro<\/a><\/figcaption><\/figure><\/div>\n\n\n\n<p>In <em>Jami District<\/em>, the\npolitical agitation addresses us spectators directly, but, in <em>Zrenjanin,<\/em> there are characters who try\nto persuade each other to take political action. That sort of conversion is a\nchallenge to credibility. Performed by To\u0161a Jovanovi\u0107 National Theatre from\nTimi\u015foara\u2019s twin city in Serbia, Zrenjanin, the show depicts a bad capitalist\nabout to close down the town\u2019s factory. He is opposed by two activists, one of\nwhom is transsexual. This seems to me to give a late-2010s tint to the play,\nwhich otherwise could well have originated in the 1990s\u2014or perhaps the gangster\neconomy has not changed since? <em>Zrenjanin<\/em>\nis written by Igor \u0160tiks and directed by Boris Lije\u0161evi\u0107.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"393\" data-attachment-id=\"1134\" data-permalink=\"https:\/\/www.critical-stages.org\/18\/timisoara-festival-pierces-through-past-and-future-nationalisms\/tesztmatti-photo-3\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-3.jpg?fit=700%2C393&amp;ssl=1\" data-orig-size=\"700,393\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"tesztmatti photo 3\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Colours and poses reminiscent of Pussy Riot in A Cloud in Trousers. Photo by www.teszt.ro\ufeff&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-3.jpg?fit=700%2C393&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-3.jpg?resize=700%2C393&#038;ssl=1\" alt=\"\" class=\"wp-image-1134\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-3.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-3.jpg?resize=300%2C168&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>Colours and poses reminiscent of Pussy Riot in<em> A Cloud in Trousers<\/em>. Photo: <a rel=\"noreferrer noopener\" aria-label=\"www.teszt.ro (opens in a new tab)\" href=\"http:\/\/www.teszt.ro\" target=\"_blank\">www.teszt.ro<\/a><\/figcaption><\/figure><\/div>\n\n\n\n<p><em>A Cloud in Trousers <\/em>looks at agit-prop from yet another angle, this time from the stage\ntoward the auditorium, or rather, toward the director\u2019s gaze. An actress asks\nhow many times she must show herself nude on the stage in political avant-garde\nproductions, before she merits a clothes-on role in a regular play. Very funny!\nNo, on the contrary, a terrible misuse of female university-educated talent!\nDirected again by Kokan Mladenovi\u0107, <em>A\nCloud in Trousers<\/em> claims to paraphrase the Russian revolutionary poet\nVladimir Mayakovsky. Again the actors are very young. In the after-show\ndiscussion, Mladenovi\u0107 (born 1970) said he is extremely disappointed with his\nown generation, which had two decades to rid Serbia of its war-criminal\nheritage, but failed to do so. <em>A Cloud in\nTrousers <\/em>was produced at Kosztol\u00e1nyi Dezs\u00f6 Theatre, in Subotica, Serbia.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"466\" data-attachment-id=\"1138\" data-permalink=\"https:\/\/www.critical-stages.org\/18\/timisoara-festival-pierces-through-past-and-future-nationalisms\/tesztmatti-photo-7\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-7.jpg?fit=700%2C466&amp;ssl=1\" data-orig-size=\"700,466\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"tesztmatti photo 7\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;The Kosovar production ridiculing both domestic and European bureaucracy was shown on DVD, because the company were denied their EU visas. Photo by JetmirIdrizi&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-7.jpg?fit=700%2C466&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-7.jpg?resize=700%2C466&#038;ssl=1\" alt=\"\" class=\"wp-image-1138\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-7.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-7.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>The Kosovar production ridiculing both domestic and European bureaucracy was shown on DVD, because the company were denied their EU visas. Photo: Jetmir Idrizi<\/figcaption><\/figure><\/div>\n\n\n\n<p>In the above shows, Serbian self-irony toward nationalism is so biting,\nso accurate, so intelligent and presented with such charm and fury that\u2014rather\nparadoxically\u2014I cannot think of any other nation quite capable of the same.\nKosovo comes close, though. Qendra Multimedia from Pristina was scheduled to\nperform their <em>a play with four actors and\nsome pigs and some cows and some horses and a prime minister and a milk cow and\nsome local and international inspectors<\/em>, but the company were denied their\nEU visas. Luckily, a DVD recording of the performance was shown instead. Jeton Neziraj\u2019s\nplay toys with the idea that the EU quickly needs a country, any country to\nreplace the vacuum left by Brexit. Kosovo is perceived as a strong candidate,\nif only a Pristina slaughterhouse can get its processes to comply with EU\nstandards. The married couple running the slaughterhouse manages to fulfil the\nthree thousand EU demands, but they forget to bribe the bureaucracy both at\nhome and in Europe. Blerta Neziraj directed the four actors and two on-stage\nmusicians.<\/p>\n\n\n\n<p>It was an extra benefit of the DVD that we got to witness the reactions\nof the Kosovar audience. Both in the Pristina show and in the Serbians a\nmention of gay rights and the European insistence on minority rights produce uneasy\ngiggles. In the theatre, among one\u2019s fellow spectators, it is possible to laugh\nat prejudices which one or one\u2019s community is in the process of leaving behind,\nor has abandoned not so long ago.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"465\" data-attachment-id=\"1136\" data-permalink=\"https:\/\/www.critical-stages.org\/18\/timisoara-festival-pierces-through-past-and-future-nationalisms\/tesztmatti-photo-5\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-5.jpg?fit=700%2C465&amp;ssl=1\" data-orig-size=\"700,465\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"tesztmatti photo 5\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;In Rabenthal, the groom (Zsolt Csata, left) strikes a bravely nonchalant pose, when his bride (Andrea Tokai) flirts with the cook (Andr\u00e1s Zsolt Bandi). Photo by www.teszt.ro&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-5.jpg?fit=700%2C465&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-5.jpg?resize=700%2C465&#038;ssl=1\" alt=\"\" class=\"wp-image-1136\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-5.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-5.jpg?resize=300%2C199&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>In <em>Rabenthal<\/em>, the groom (Zsolt Csata, left) strikes a bravely nonchalant pose, when his bride (Andrea Tokai) flirts with the cook (Andr\u00e1s Zsolt Bandi). Photo by <a href=\"http:\/\/www.teszt.ro\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"www.teszt.ro (opens in a new tab)\">www.teszt.ro<\/a><\/figcaption><\/figure><\/div>\n\n\n\n<p>The host company of Timi\u015foara gave us <em>Rabenthal<\/em>, a 1992 play by the German playwright J\u00f6rg Graser,\ndirected by Radu Afrim. It is a wild story about a rich art collector, who takes\nhis wife to a wedding dinner at a filthy restaurant, where she plunges into a\ncruelly passionate relationship with the cook. And, of course, the unique\ndirecting style of Afrim only adds to the weirdness. Afrim\u2019s images are so\ndense, so expressionistic that I will only make a fool of myself trying to\ndescribe just one: the bride (Andrea Tokai) lies on a table, while the cook (Andr\u00e1s\nZsolt Bandi) places a big fish on her stomach, goes on to season it sprinkling\nflour all over her and, simultaneously, tells how he became the sole survivor\nin an ambush during his service in the foreign legion.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"video-2\">Video 2<\/h6>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Rabenthal promo\" src=\"https:\/\/player.vimeo.com\/video\/269336593?dnt=1&amp;app_id=122963\" width=\"750\" height=\"422\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"393\" data-attachment-id=\"1132\" data-permalink=\"https:\/\/www.critical-stages.org\/18\/timisoara-festival-pierces-through-past-and-future-nationalisms\/tesztmatti-photo-1\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-1.jpg?fit=700%2C393&amp;ssl=1\" data-orig-size=\"700,393\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"tesztmatti photo 1\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;The professor (Zolt\u00e1n Mucsi) returns to his mother (Kati L\u00e1z\u00e1r) to blame her for everything in J\u00e1nos H\u00e1y\u2019s Hard. Photo by www.teszt.ro\ufeff&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-1.jpg?fit=700%2C393&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-1.jpg?resize=700%2C393&#038;ssl=1\" alt=\"\" class=\"wp-image-1132\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-1.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-1.jpg?resize=300%2C168&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>The professor (Zolt\u00e1n Mucsi) returns to his mother (Kati L\u00e1z\u00e1r) to blame her for everything in J\u00e1nos H\u00e1y\u2019s <em>Hard<\/em>. Photo: <a rel=\"noreferrer noopener\" aria-label=\"www.teszt.ro (opens in a new tab)\" href=\"http:\/\/www.teszt.ro\" target=\"_blank\">www.teszt.ro<\/a><\/figcaption><\/figure><\/div>\n\n\n\n<p>Szk\u00e9n\u00e9 Theatre from Budapest, Hungary, presented <em>Hard<\/em> (<em>Neh\u00e9z<\/em>) by J\u00e1nos H\u00e1y,\ndirected by L\u00e1szl\u00f3 B\u00e9rczes. It opens with a couple of short scenes where the\nmain character is told to vacate his position as university professor and to\nvacate his position as husband. With no money, he moves back to the countryside\nto live with his aged mother. What follows is a one-hundred-minute monologue\nwhere he justifies himself with an admirable amount of self-deception, always\nfinding fault with his mother (Kati L\u00e1z\u00e1r) and everyone else, who have\nconsistently refused to recognize his superiority.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"video-3\">Video 3<\/h6>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"750\" height=\"422\" src=\"https:\/\/www.youtube.com\/embed\/PcAg5J3vAr0?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><\/figure>\n\n\n\n<p>The sheer physical feat of the actor Zolt\u00e1n Mucsi is astonishing; there\nis plenty of text, and his only respite from relentless stage action occurs\nwhen he takes off a jacket or tousles his hair as the professor\u2019s alcoholism\ndevelops further and further. Even more astonishingly, Mucsi\u2019s gestures never\nrun out of rein, but his every wrinkle, his physical stumbles, his wave of the\nhand all show gradual ruin and increasing loss of dignity. Mucsi portrays a man\nfrom the country whose lack of self-confidence kept him from fulfilling his\nambition. <em>Hard <\/em>premiered in 2010, but\nshows no sign of wear and tear; on the contrary, time may have added to its\nfine-tuning.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"393\" data-attachment-id=\"1137\" data-permalink=\"https:\/\/www.critical-stages.org\/18\/timisoara-festival-pierces-through-past-and-future-nationalisms\/tesztmatti-photo-6\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-6.jpg?fit=700%2C393&amp;ssl=1\" data-orig-size=\"700,393\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"tesztmatti photo 6\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;In Frame, the lighting design of director Alessandro Serra creates moving images on the concrete-coloured walls. Photo by www.teszt.ro\ufeff&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-6.jpg?fit=700%2C393&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-6.jpg?resize=700%2C393&#038;ssl=1\" alt=\"\" class=\"wp-image-1137\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-6.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-6.jpg?resize=300%2C168&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>In <em>Frame<\/em>, the lighting design of director Alessandro Serra creates moving images on the concrete-coloured walls. Photo: <a rel=\"noreferrer noopener\" aria-label=\"www.teszt.ro (opens in a new tab)\" href=\"http:\/\/www.teszt.ro\" target=\"_blank\">www.teszt.ro<\/a><\/figcaption><\/figure><\/div>\n\n\n\n<p>All the above shows are noisy, which says more about my preferences than\nabout the wide variety of the Teszt program. Koreja Theatre from Italy showed\nits <em>Frame<\/em>, a work of exquisite\nbeauty, inspired by Edward Hopper\u2019s paintings. Alessandro Serra\u2019s choreography\ncreates scenic paintings of gliding and floating movements. The show begins\nwith a huge piece of plywood moving around the stage, seemingly on its own,\nbefore the five actors behind it make themselves visible. The plywood is a\ntabula rasa, which then gets filled with images created by the actors. The\nlight design of <em>Frame<\/em> only sheds an\ninkling of light on the events, which invites and compels me to fill in the\nshadows of meaning from my own inner darkness.<\/p>\n\n\n\n<p>My review is not the first time these directors have caught the\nattention of Critical Stages. For more information please see:<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-critical-stages-scenes-critiques\"><div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"wp-embedded-content\" data-secret=\"dKvsfI0qPw\"><a href=\"https:\/\/www.critical-stages.org\/16\/theatre-in-serbia-today\/\">Theatre in Serbia Today<\/a><\/blockquote><iframe loading=\"lazy\" class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" title=\"&#8220;Theatre in Serbia Today&#8221; &#8212; Critical Stages\/Sc\u00e8nes critiques\" src=\"https:\/\/www.critical-stages.org\/16\/theatre-in-serbia-today\/embed\/#?secret=dKvsfI0qPw\" data-secret=\"dKvsfI0qPw\" width=\"600\" height=\"338\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-critical-stages-scenes-critiques\"><div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"wp-embedded-content\" data-secret=\"CZLynXWVY3\"><a href=\"https:\/\/www.critical-stages.org\/14\/a-ruthless-rewriting-of-the-beggars-opera-in-timisoara\/\">A Ruthless Rewriting of The Beggar\u2019s Opera in Timi\u015foara<\/a><\/blockquote><iframe loading=\"lazy\" class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" title=\"&#8220;A Ruthless Rewriting of &lt;em&gt;The Beggar\u2019s Opera&lt;\/em&gt; in Timi\u015foara&#8221; &#8212; Critical Stages\/Sc\u00e8nes critiques\" src=\"https:\/\/www.critical-stages.org\/14\/a-ruthless-rewriting-of-the-beggars-opera-in-timisoara\/embed\/#?secret=CZLynXWVY3\" data-secret=\"CZLynXWVY3\" width=\"600\" height=\"338\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-critical-stages-scenes-critiques\"><div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"wp-embedded-content\" data-secret=\"w2sCEVX6YK\"><a href=\"https:\/\/www.critical-stages.org\/8\/the-beauty-of-musical-eclecticism\/\">The Beauty of Musical Eclecticism<\/a><\/blockquote><iframe loading=\"lazy\" class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" title=\"&#8220;The Beauty of Musical Eclecticism&#8221; &#8212; Critical Stages\/Sc\u00e8nes critiques\" src=\"https:\/\/www.critical-stages.org\/8\/the-beauty-of-musical-eclecticism\/embed\/#?secret=w2sCEVX6YK\" data-secret=\"w2sCEVX6YK\" width=\"600\" height=\"338\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-critical-stages-scenes-critiques\"><div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"wp-embedded-content\" data-secret=\"xupkh4Abqn\"><a href=\"https:\/\/www.critical-stages.org\/16\/czech-theatre-holds-up-well-against-some-mixed-international-competition\/\">Czech Theatre Holds Up Well Against Some Mixed International Competition<\/a><\/blockquote><iframe loading=\"lazy\" class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" title=\"&#8220;Czech Theatre Holds Up Well Against Some Mixed International Competition&#8221; &#8212; Critical Stages\/Sc\u00e8nes critiques\" src=\"https:\/\/www.critical-stages.org\/16\/czech-theatre-holds-up-well-against-some-mixed-international-competition\/embed\/#?secret=xupkh4Abqn\" data-secret=\"xupkh4Abqn\" width=\"600\" height=\"338\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe>\n<\/div><\/figure><a name=\"end\">&nbsp;<\/a>\n\n\n\n<img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"140\" height=\"150\" data-attachment-id=\"156\" data-permalink=\"https:\/\/www.critical-stages.org\/18\/?attachment_id=156\" data-orig-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2018\/10\/Matti_Linnavuori-1.jpg?fit=140%2C188&amp;ssl=1\" data-orig-size=\"140,188\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Matti_Linnavuori (1)\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2018\/10\/Matti_Linnavuori-1.jpg?fit=140%2C188&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2018\/10\/Matti_Linnavuori-1.jpg?resize=140%2C150&#038;ssl=1\" alt=\"\" class=\"wp-image-156 alignnone\">\n\n\n\n<p><a name=\"end\" href=\"#back\">*<\/a><strong>Matti Linnavuori<\/strong> wrote theatre criticism between 1978 and 2013 for various newspapers and weeklies in his native Finland. In 1985, he worked for the BBC World Service in London. Since 1998, he has presented papers at numerous IATC events. In the 2000s, he wrote for Teatra Vestnesis in Latvia. Since 1992, he has written and directed several radio plays for YLE the Finnish Broadcasting Company, the latest in 2018. In 2016, his play\u00a0<em>Ta mig till erledare (Take me to your leader<\/em>) ran at Lilla Teatern in Helsinki.<\/p>\n\n\n\n<p class=\"has-text-align-center\" style=\"font-size:14px\">Copyright <strong>\u00a9<\/strong> 2018 Matti Linnavuori <br><em>Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><a href=\"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/wp-content\/uploads\/2021\/03\/88x31.png?w=750&#038;ssl=1\" alt=\"\"\/><\/a><\/figure><\/div>\n\n\n\n<p class=\"has-text-align-center\" style=\"font-size:14px\">This work is licensed under the<br>Creative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Matti Linnavuori* TESZT Euroregional Theatre Festival in Timi\u015foara, Romania, May 20-27, 2018 In Timi\u015foara, theatre is different. I am left gaping in amazement at the courage of the performers and the sharpness of thought in the writing. The theatre of<\/p>\n","protected":false},"author":1,"featured_media":1138,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[8],"tags":[60],"class_list":["post-1130","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-performance-reviews","tag-by-matti-linnavuori","","tg-column-two"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.critical-stages.org\/18\/wp-content\/uploads\/sites\/19\/2019\/01\/tesztmatti-photo-7.jpg?fit=700%2C466&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/pam472-ie","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/posts\/1130","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/comments?post=1130"}],"version-history":[{"count":5,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/posts\/1130\/revisions"}],"predecessor-version":[{"id":1638,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/posts\/1130\/revisions\/1638"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/media\/1138"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/media?parent=1130"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/categories?post=1130"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/tags?post=1130"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}