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New Wednesday of New Times by Peter Uj.
I’m interested
Following the two former directors of the Katona József Theater, Gábor Székely and Gábor Zsámbéki, and the chief director Tamás Ascher, the director Gábor Máté will also leave the University of Theater and Cinematographic Arts:
“Nights of insomnia, anger and despair, despite and as a result of my hourly change of position, and along with my agreement with the students’ goals, I will resign after 27 years of service as a licensed university professor at SZFE. I was the first to inform my department of my decision, who are sure of their understanding and with whom we will work as adult artists at the Szombathely theater next spring, even if the tiny people of culture want it and the pandemic situation does not. it gets in our way. “
Two university vice chancellors, three college directors, all elected members of the 18-member Senate resigned Monday, but most of them remain professors. Others, on the other hand, do not live with the loss of university autonomy, among them Réka Pelsőczy, film director, Ildikó Enyedi, András Bárdos, television director, Máté Gáspár, director of the institute, and Viktor Bodó, director.
The students have barricaded the building and do not want to let in a government-appointed board of directors, whose president, Attila Vidnyánszky, says the students are the tools of the parties.
Finally, I copy here the rest of Gábor Máté’s advertisement, entitled The story of the small Hungarian theater:
Péter Takátsy, as a member of Tamás Szirtes’s class, suggested to his class teacher that he might actually invite me to take an exam for his class. At that time, in 1993, I set foot as visiting professor of conducting at the College, where I graduated in acting in 1980. Later, on behalf of the Kerényi-Huszti class, Gábor Hevér approached me to organize a semester for his class. Then István Horvai called to lead a course. Months before, before one of the conferences, he addressed me: “The best solution would be for you to teach me instead of Dezső Kapás, I ask you to do this because I trust that you will fulfill my request, I do not know how long I will live , I have already had several heart attacks, but I want to teach for the rest of my life, and if you promise me, I think you will, you will keep your word … ”- we shook hands, after which I had the honor of being able to Bringing the art of craft teaching with him to his next class and if he’d be in a good mood, he would add, even tip. First, Péter Huszti, the then rector, asked him to head the department, on the condition that it would be good for Horvai to continue working as well, to let him teach as long as he could, as this is his life. We even started my next class together, teaching with me for a year, dying in the early summer as befits a man of the theater. I said goodbye on behalf of the university. My next class changed to the first five years of college training (which I am trying to decipher the meaning of five years to this day). At that point, I had already seated my former student, András Dömötör, in the teachers’ department. I also took the online class with him. So this current class started with the help of Kriszta Székely, co-head of the department, who – I suppose – would have been the last one anyway, but after giving up five years of training and three years of instruction – when most of the boys in the theater Szombathely are already testing Pál Street Boys I came out of the University of Theater and Motion Picture Arts.
As a study, I describe a personal story called “how we got here.” cycle. As a Benedictine student, Imre Kerényi knocks on my father’s window on the Győr theater window, do you want to be a theater director, what should you do? Imre Kerényi starts a class when I disarm as a soldier in the Kalocsa barracks with my seven companions, I enter Simon Zsuzsa’s class, which starts in parallel with him (I also get Major, Székely, Babarczy as a bonus). In the mid-90s, next time I will sit in the chairmanship of the Association of Theater Arts with Kerényi, we will join the embassy on behalf of the presidency to receive the then cult leader György Fekete. Imre arrives first, goes out to the Madách Theater and then goes for a wooden painting. I will ask him at the next presidential meeting why he did not act in the cause of the Alliance, for which we were commissioned. He responds: “Remember, you are here to dance like we whistle …” It was still in the period of the democratic charter.
We will be sitting together at various college admissions in later times, as head of department at that time, I will always ask your opinion on the talent of the admissions applicants; I think he has a good eye for selection. In his later years he has moved away from teaching, his politics are increasingly tied to his imagination. It happens that we are on the line of the Ilonka Tóth National Theater. presentation of your presentation. To my left is Kerényi’s wife, to her left is her husband, to my right is László Székely, a set designer, not by the way, the visual designer of Gábor Székely’s great performances. (I wouldn’t have written that sentence a month ago.) I’m mostly curious about today’s performance because of my main student, then known as Andrea Kiss, Waskovics. After the applause, we went down the stairs side by side like two theatrical people. I think I should say something and I would like to say that Gábor Bakos Kiss, an alumnus of Kerényi in the music department, who played the Avos officer in the play, which during his college years seemed above all a bonvivan, how strong he was in the role that I saw and that surprised me in a good way. To this, the prime minister’s envoy says: “Tell Péter Kende that this is Ilonka Tóth’s story, not the way he set it up” – referring to the theatrical scandal in Kaposvár unleashed by Mohács – “… Péter Kende ? I have not met him in my life, “I reply, investigating my memory, if I even know who he is talking about … We are relieved in the locker room … As I leave, I see Kerényi at the National Main Entrance in the ring of Gray-haired gentlemen, he explains something very, it shows, points at me and shouts: “Here comes the enemy!”
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