The Junior Prima award-winning director told how one of his productions was banned when he was 19, and then how he was banned in opera.
In the Hungarian theater profession, I definitely feel that it is disingenuous to become comfortable with the evil we experience. Complaining and not daring to act or speak against something that is not true or that we do not like
he thinks Jakab TarnucciKatona Theater Director Joseph, who Phaser for Alinda He gave an interview. The entire conversation It can be viewed on this interface For subscription fees.
The 29-year-old Tarnucci analyzes at length the problems of the Hungarian theater profession and the differences between generations, explaining several reasons why he is uncertain about the future. “Not only regarding the future of Katona, but of the entire Hungarian theater profession. I think the structure we are used to is not working. I don't think repertory theater is working, and it's not working that there are such big companies. And on a day-to-day level, only the disadvantages of it are visible.”
He also considers the problem of companies' inability to renew themselves to be a fundamental problem, because “everything is coherent, everything is terribly fossilized.”
Every theater is renewed from within. External change very rarely comes. If external change occurs and a new manager actually brings a new system, he is working for political considerations, not professional ones.
– he says, and during the hour-long conversation, he also recalls two experiences when he was censored due to political concerns.
The first case occurred in his hometown, Salgotarjan, where – Attila Vidnyansky Founded by Téatrumi Társaság – to participate in local theater as an actor and assistant director already during high school. Before being accepted into the university, he organized one there Antigonet, which was banned by the city administration. According to him, the fact that they visited just before the 2014 elections also played a role, and he brought his general anger towards public conditions into the show he organised.
During the last production in Salgotarjan, he was saddened because it turned out that although he had been unsuccessfully interviewed, he could not be on the front page of the district newspaper, which usually reported on premieres, because he was registered as an opposition figure. As he says, he made his show two years ago – about a small town similar to Salgotarjan Beautiful sight -, Neither he nor the other directors he recommended, who he did not feel were sufficiently compatible with NER, were invited to direct.
The other case occurred in the opera, which was shown in 2021 Dear citizen A slightly revised version directed by Tarnucci (at the Eiffel Atelier). He had previously spoken publicly about the fact that a last-minute conflict had broken out with the opera's general director over the scenario that the artistic director had already accepted, but now he recounted details about the issue, which he described as obvious. Censorship – or from the institution's point of view: self-censorship – in response to Pfizer's question.
The reading test was administered according to the accepted textbook, and we practiced in this manner for approximately two months. And then, at the main rehearsal, two days before the show, they watched it from home, and to this day I don't know who – an excited person sitting in the dark – Želvester Okovac stormed in and told him something was wrong. And then Szilveszter Ókovács asked for the text book, and by the afternoon I had already received a corrected copy from him – the digital opinion was written in purple – what to change
Things that were still there had to be removed,” Tarnucci recalled, adding Molière He wrote in it. For example, that the Countess receives a diamond ring from a resident of Orhatnam – in this case By Mati Mazaros Buri Petervi.
This was not possible, because he linked it to the fact that Laurenc Meszaros had given such a ring to Andrea at that time, and it should not have happened at that time. Or don't use the word reed, because it might refer to Tarlos. (…) Suddenly Szilveszter Ókovács assumed that I invited Máté Mészáros to this role so that he could act Lőrinc Mészáros. It's no coincidence, because he's a very good actor and I wanted to work with him. I think the reason was fear, and it was self-censorship on their part. On the other hand, it's an oversight towards me, and I'm also sure that if Sylvester had watched this rehearsal, there wouldn't have been a problem, because he would have seen what this performance was like.
Moreover, according to Tarnoczi, there was no intention of this, and they were invited by the opera to attend the play, which just so happens to be the basic situation that there is suddenly a rich and uncultured person who starts leading everyone.
Tarnóczi deeply regrets that he was prevented from discussing the matter with Ókovács. They told him that if he did not change the required parts, the show would be canceled and he would have to pay the multi-million dollar cost of the show.
I was afraid, and I wasn't brave enough. What I was able to do was call everyone before the show and let everyone know what was going on. It was really nice that everyone was upset and that everyone was with me and the production. And we decided that we changed everything, but we didn't actually mitigate anything. In fact, it happened, it's just a little trick, not an argument that it wasn't.
– says Tarnucci, who says he would handle it differently today. He also told him that Szilveszter Ókovács apologized to him at the presentation, which he felt was sincere, and then told him “in a paternalistic and slightly condescending way” that he actually wanted to protect him. Tarnóczi very much regrets that because of this case – and his statements about it – he will likely lose the opportunity to mentor in the organization where, in his opinion, great people work, who do not always receive the necessary respect and opportunities.
We recently conducted an interview with Jakab Tarnucci, which you can read here: