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Kossuth-djas Kiss Jnos tncmvsz was one of the founding members of the Gyri Ballet in 1979, and then the body became the director of the Gyri Ballet after Mark Ivn. This time, the cheese was decided by the company. He prepared himself for the task of leading the company and was able to secure the future of ballet. In an interview with Orign, the Gyri Ballet’s foundations are much more politically motivated by anomalies, as is a ppai ldsrl. Kiss J also explains: what was the main point when he supported the letter from the University of Film and Technology and how colleagues who think about the university reacted to the measure.
He used to say that the main secret of the Gyri Ballet’s success is the cohesive community, in which the harmonious functioning of the whole is more important than the interests of the individual, whose harmony is also a sure key point for outstanding performances. In relation to ballet, did you recognize the power “kplet”, or von haus aus kzssgi man?
As a child, we spent time in Zugli. There was a professor among the varnishes, we sell, we find, worn brown, butcher, we sell. We were also many children, it did not matter who came up. Neither parents nor their children suffered from the rank, and the well-functioning community also contributed to spending those moments in a very beautiful era. We organize slide shows in the backyard and on the staircase. József Pelikn Sr., our professor and university professor, also lived there. His son, József Pelikn Jr., won the televised contest Who Knows What? cm, he became a renowned mathematician, assistant professor in the Department of Algebra and Revision at Eötvös Loránd University. We also get to sectology, as does our piano teacher, Anni nni. In our micro-community, people looked at each other, helped each other. Determining.
What did n’s parents do?
desapm worked in commerce, from an existential point of view he became one of the victims of the 20th century. What happened, what didn’t: he never talked about it in public, he didn’t want to “fight”, he also played sports and wrestling. Desanym Rckevei became a family worker, it became home by definition, but she had an opinion on the world and she always warned me to run away from average people.
He once mentioned that he had actually changed his face to become a ballet artist. Didn’t you have any other antecedents?
My name is Hermina today, so Mjus was the first to go to elementary school, where I participated in the nptnc sessions led by her gym teacher Luci. I was able to go on stage. I taught a girl, the audience’s attention was the inspiration, the applause came to me. When I was little, I also went to ballet with Rti Pirosk, Jkai. However desapm wanted me to be a fighter or a lover, I had a lot of games with him at Krcsarn. When a cloud was broadcast on television, according to which the State Ballet Institute announced a recording for elementary school children, there was no doubt that desanym would take him there.
Nice memory?
letem els real drmja. Until then, everything worked out, but I fell on the last fiber of the recording. When we got home, Desanym said, let us go to the temple of Terzvros an imra. I did not go because I was very angry with God. Mikzben was actually watching rm.
Where?
We received more letters from Hidas Hedvig, the then director of the State Ballet Institute. Said: I complied in all respects, they really got kicked out for the sake of the location. He suggested that I go to a Jar Imre Magn ballet school on Akcfa street.
Where is gi Care here?
When I was hired next, Gyrgy Lrinc became my teacher and I was able to study in another legendary stream. That is, if I am admitted first, I will go to another master, and if there is no Imre-fle school in Jsa, where I stayed in the mood for dancing, then maybe I will not apply a second.
You may know that Lrinc Gyrgy, who was the ballet director at the Opera at the time, also made some artistic, historical, and ballet sales at the laks. There they also discussed opera and concert sales with the teachers. Were your relationships with Ms. Masters similar?
He was brought up for discipline, but severity blossomed with love. My other teachers were: Etelka Klmn, Gnes Roboz, Lia Rbai. Rbai Liknl, who was a member of the Hungarian National NGO Association with Mjör Rbai, who also won the Kossuth Prize and then won the Kossuth Prize, we were able to study the sets, we listened to the people, he showed the costumes. These occasions also had sustained force. On the other hand, we were included in the children’s pieces of the Opera from the first stage. The opera also had an effect on the air, I thought: one day I would destroy Rm here, he would be the prince at Lake Hattyk.
The opera master, the opera’s ballet director, Grgy Lrinc, also has a role to play in conducting the “cllloms” for women.
In addition to the Russian classics, Lrinc Gyrgy also considered Western trends important. He was able to win choreographers like George Balanchine or Maurice Bjart. On one occasion we were able to enter Bjart Tzmadr cm piece fprbjj. Mark Ivn played the role of cm, who was a member of the Bjart Company at the time. According to the story of the piece, everyone dies in the fight, only one party remains, which in red symbolizes the revolution – and next to which more birds appear. We were completely influenced by the effect of the sale. They asked what they were saying, what they wanted to say.
In fact, this is a left-handed trtnet. Taln is the first authentic thing they could experience at that time.
I prefer to say that it is a revolutionary story. It was taken by Opus 5, then Stravinsky’s Le Sacr du Printemps – Spring Sacrifice cm. The latter spoke of how he would be captivated by the passion that unleashed the almost naked men and women. Until then, Russian classics were the mainstay of our work, Army and Bell pieces were ballet. Bjart choreographed, we already knew: we want to do the same. After the sale, we found the Mark Ivan fire, put on our ballet shoes, and then invited him to a talk at the Ballet Board. In fact, the spirit of the revolution broke out.
Were you disciplined show guests until then?
We were considered reluctant. We founded the Choreographic Stdit at that time with Katalin Lrinc and Gyrgy Krmer, among others. It was a great drummer because, as director Hidas said, we are not trained as a choreographer, but as tncos. We said we were rtjk and continued doing the stdit. Certainly, we were also regularly visited by the Vas Street film department in Szznhz and Filmmvszeti Fiskola, where we talked a lot and partied with the students of the institute, not only with directors, but also with colors. Met Anth Kubik, István Bubik, Kroly Eperjes, Mcsai Plt. We also met with music academies and students from the Faculty of Fine Arts. we usually pay attention to trs. There was no mg network, there was no such terrible information lock. We had to work with tudsrt.
What exactly did they do when they decided after Tzmadr: would their flow remain one and form a company with Mark Ivn?
After the Tzmadr fprbja, we organized a meeting with Mark Ivn for the Opera bfj. He did not come, but we found out that he had just climbed to stage 25 to see a work by Endre Fejes. We went there, fell asleep, almost arrived. He asked, “What do you want from me?” We said, “We want a body and to be our leader.” We believed in this rlet so much that we would have also kept it on the wall. It also convinced him.
But there was also the administration of the Kdr era, the incarnation of prtakarat.
At that time, every spring they met at the Szentendre House of Culture, with frums, killts, theatrical productions, to listen to various art schools. The event only officially became the Fiskolk Encounter of the Arts only in 1981, however, in our diploma program, in 1979, Imre Pozsgay, who was appointed Minister of Culture at that time, visited our country. He graduated from the Sznhz Film College and the Industrial School of Arts. I raised my hand and when I got it I said, We are here too, the Tncos. The consequence of this was that we got an appointment with Gyuri Krmer and Imrt from Pozsgay. They seated us appropriately as we sat in front of their office. The door opens and comes out: Dezs Garas. He was the first child of Mark Ivn’s wife, Judit Gombr, and Judit later became not only a detailed costume designer for the Gyri Ballet, but also our spiritual subject, who stayed with us after Mark’s turn. Ivn. I don’t want to confuse the matter, but Dezs Garas has a strong memory in a certain situation. And when we were able to go to Imr Pozsgay, we managed to convince ourselves that it was a great idea to stay together in a wild place.
There is no end mg, turn to continue!
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