What kind of culture is there where only urban, urban thought exists?

In the spring, when the theatrical life came to a halt, he moved with his family to Viszák in Őrség, where he has long maintained a Cultural Barn. Then you spoke of returning to earth. Now, how do you plan to pass the second wave, what is your vision for the next month?

We stayed in Zsámbék, where my family and I moved a few months ago, where we continue to fight the virus. I have told myself that the passage of our culture cannot be stopped because it is alive, it is organic, it exists and it is very real. This fight must be engaged in the same way as at any time in everyday life, but in the difficult period of the pandemic, even more celebrations must be created. Strengthen the smaller communities of our culture. At Viszák we have been doing this for years, so I think we can hold onto the power of art in difficult times. At Zsámbék we created a gallery, which we presented in the virtual space due to the pandemic. The Kert Tart fits into the same process as the Attila Kaszás Barn Theater and Gallery in Visak. On the one hand, it will be a place of display, symbolizing the opening, but not only a gallery, but also another garden of native fruit trees. For more than ten years, I have been driven by the energies of indigenous cultures that hold the community, man and people. Then I can report on something alive, organic and functional.

However, the epidemic again contradicts community building …

For now yes! This is a war to win. He’s also doing his job pretty hard, I’ve been caught, but I got over it. It lasted three weeks, my wife, my son was not infected. Even now, the taste hasn’t returned and I can’t smell it, but as I see it, I escaped relatively well. I’m sure if we get through this, we won’t be where we were in March.

In our human relationships or in a moral sense?

The question is a good one, because morale must also be straightened out. Is there such a thing as public morality or has it already been questioned? Do we understand the same about the question and especially the answer?

In the first phase of the epidemic, a general social self-analysis could be observed, wise words were spoken about how much we lost each other, and that should change. Then, when freedom returned, there was not much of everything left, we did not become much more disinterested, more tolerant …

We recover. I found in the Őrség, for example, that many, many people have embarked on self-reliance, a way of life that convinces themselves that they can produce for themselves. When it is said that man is attached to the earth, I reply that I am more a slave to myself and return to the earth than a useful idiot of a great artificially created system. I repeat that while art has a palace, culture also has a barn, and the barn is not a natural space for the arts. Let us remember that the extermination campaign first reached the depths of cultures when the peasantry, the city’s bourgeoisie, was exterminated in the early 1950s. They were evicted, their lands stolen, their animals chased away, exiled, executed and with it the quarantined culture, completely extinct. If there is no maintainer of culture, humanity, what are we left with? I believe that our national culture neither received nor recovered the correction expected during the regime change. Thus, some thirty years after the twenty-fourth hour, we must feel that, like a morsel of bread, the search for organicity, its liberating importance, is missing from our public thought. Culture is a legacy of ever-changing intergenerational experience and not an abstract concept lived out in a community. The exhibitions, concerts, theatrical performances and poetic evenings of the Attila Kaszás Pajtaszínház (KAPSZ) in Visák are not selfish goals separate from the community, but events that are born from the intention of strengthening the community throughout the Fairy Garden. I believe in the cultural mission of the arts. In this, the role and duty of the National Theater in cultural history is undeniable, today it is dominant.

Now, however, the situation is not easy, since the theater is incomprehensible without an audience …

In our pandemic world, theaters have fallen to their knees, losing viewers. We only waited for a month. Rebuilding natural conditions will be a great common challenge at a time when our public affairs here are the still unsolved challenge of the University of Theater and Film. You add to this because the press is constantly changing this issue. What will become of this when the debate reaches zero with the closure of the university? What happens when the door opens, what does the door open? I am one of those who wait for better times to change the SZFE model. I want a space for civic thinking because I believe that national culture cannot be interpreted without popular culture. What kind of culture exists where only urban, urban thought exists? I believe that there has been no change of regime in education because a certain range of values ​​of culture has been excluded, that is, the national one. I think this should be understood when we try to put in our head the demands of students who rebel for “freedom”. After World War II, the national culture blacklisted as a long-awaited definitive abolition of freedom. Let me draw a parallel with our native natural treasure: I had a cathartic experience when the provision on the propagation and dissemination of native fruit cultivation, which affected the peasant-citizen culture, was removed from the legal passage. Since then we have had the freedom to facilitate replanting and we are working on that.

Wass Albert Thirteen apple trees At the end of the lecture based on your work, you will tell the complete mission of the Fairy Garden movement in a separate block. How do I get there?

The current thought, the movement, is incorporated in that performance. The piece is also about how the crop can be destroyed, it can be destroyed for a time, but not permanently! Because there is a man who collects and rebuilds. Attila Vidnyánszky saw the parallel between the play and our mission, so he finally decided to tell me the monologue about the Garden of the Fairies. It is a divine miracle that he was born, and in the end I can talk about it.

Let me remind you of an ancient promise that we are eager to fulfill. When can your old plan that Tamás Gál is an actor from the highlands and you are Slavomir Mrozek can be realized? Emigrants are you playing your two act play?

We started with Tamás Gál, but it wasn’t organized. This requires, on the one hand, a director who considers it important and difficult to imagine from an organizational point of view, since Tamás lives near the Slovak border and has become the director of the Komárom Jókai Theater. By the way, I find the piece more relevant today due to the drama of emigration than in Mrozek’s time. What does emigration and freedom of work mean today? These are tremendously important issues here and now, in the present. I saw this piece at some point in the role of Dezső Garas, István Avar, directed by Gábor Székely. It was so dramatic that sometimes an icy silence permeated the room, other times we laughed screaming. A fantastic performance that Zoltán Ternyák and I did at the Bodega Theater in the second half of the nineties, directed by Kati Kőváry.

Do you let go of the National Guest Games?

Yes, although I believe in the corporate way of life, in the attachment of the audience and not in the use of guest performances that substitute for income. If I were a leader, I would pay so much not to play the actor elsewhere because I don’t believe in the idea of ​​free movement of workers, bouncing and working everywhere. Returning to the current tensions, it would prohibit all the theaters and artists that belong to say dishonorable things about the National Theater or about any other company. Let’s be loyal to each other. This is also the historical-cultural duty of the National Theater. Your stock tracking activity cannot professionally justify any exclusions. It is unethical, morally unacceptable, and offensive. Our profession is built on trust. In the meantime, we have to practice and mediate empathy. In addition to accepting the experience of thinking differently and its respectful freedom, we will have to regain the dignity of ourselves and of our craft. This is what the audience always expects from us. There is a man at the head of our theater who I think is one of the most important creators of the middle generation in Hungary and beyond today. Within a given structure of thought, all creators and creations are unquestionable. Only in the case of artificial judgment, excluding attitude on the one hand and attitude on the other, the years, works and results of Attila Vidnyánszky dedicated to our field are also unquestionable.

Those who criticize them claim that they do it not for their art, but for a kind of position of power …

Then I say to this that there has been an expansion of power throughout a power structure for seventy years. A certain structure adheres to the truth. Despite the strong protest, Attila Vidnyánszky is valued by many people and considers that what he represents is important and even inevitable. But our debate is an ancient legacy. We have to accept it, but in the meantime we take care of our children, our offspring, their dreams, their future.