From Tiny Theater to National: A Marvelous Journey
By an imaginative blend of humor and pathos, our tale begins in the seemingly unremarkable corners of the Fészek Art Club, where the István Kazán Chamber Theater rose from obscurity like a phoenix — if the phoenix had a penchant for monodramas about the Holocaust. And trust me, we didn’t take the easy route. This is a journey of grit, passion, and an unhealthy amount of caffeine consumption!
The Journey Begins
In 2006, the István Kazán Chamber Theater made its debut with “Kislány a pokolban” — a Holocaust monodrama that would set the stage for their ambitious dream of performing at the National Theatre. Imagine the collective gasp of the cast and crew as they pondered the heights they could potentially… well, reach without tripping over their shoelaces!
The visionary behind this theater dream machine is none other than the indefatigable Imre Dániel Rosenfeld. His efforts to ensure that productions reach any interested audience even sparks intense debates at to ‘where exactly’ enthusiasm should end—and ‘oh God, save us!’ should begin!
The Heart of Theater Values
So what are these extraordinary theatrical values? They are a delightful mix of Hungarian heritage, universal truths, and flavors of both Christian and Jewish cultural legacies. It’s like a cultural fondue where every ingredient matters, and if you drop the cheese stick, it’s a crying shame! But don’t worry, no cheese was harmed in the making of these productions!
Two Monodramas, One Unforgettable Impact
The journey from their first performance to a spot on the prestigious National Theatre stage is as rich as a director’s coffee stash. Their second monodrama, Auschwitz Diary, further solidified their stance, leading them to the National Theatre once again — and if you thought the first performance was a nail-biter, just wait until you saw the encore!
Auschwitz Diary: The Untold Story
What is the Auschwitz Diary all about? This poignant work by Tadeusz Borowski is not merely a recounting of horrors; it’s a window into survival cloaked in irony. Borowski’s experience in Auschwitz was not due to his Jewish heritage — no, no, that would be too simple! Instead, he found himself among the victims due to his rebellious communist activities. Suddenly, we’re not just talking about concentration camps, but the twisted corridors of ideology!
The tragic irony continues as he shed weight — quite literally losing 35 kilos — before penning his reflections in a narrative that’s darker than your uncle’s sense of humor at a family dinner! It’s profoundly tragic that after all that, Borowski succumbed to another form of oppression—disappointment with communism—taking his own life in 1951. If this isn’t a metaphor for a tragic world, I don’t know what is!
The Production Process: A Loud Standing Ovation
Through this tremendous journey, the production process itself was quite the show! Background rehearsals took place within the cozy confines of the Fészek Művészklub, and as luck would have it, they snagged a few rehearsals on the actual National Theatre stage. A massive thank you is in order for the National Theatre staff, who contributed immeasurably to making these dream performances a reality. It’s like having your cake and eating it too, only this cake is emotional turmoil sprinkled with existential dread!
Conclusion: The Show Must Go On!
As we reflect on the marvelous trajectory of the István Kazán Chamber Theater, it becomes evident that their tenacity and commitment to profound themes resonate deeply in the larger fabric of theater. From their humble beginnings to the bright lights of the National Theatre, they’ve managed to weave a story that not only entertains but challenges and enlightens — and let’s face it, who doesn’t love a bit of cheekiness thrown in for good measure?
So, to all the aspiring actors and eager playwrights out there — take heart! If a small chamber theater can rise to national prominence through perseverance and artistic integrity, who’s to say you can’t do the same? Just remember to keep your coffee strong and your scripts sharper! 🎭
– How does a small chamber theater get to the National Theatre?
On the one hand, thanks to the persistent professional work of several decades, which never considers the financial aspects, but the theater of each time and its universal values as primary, and on the other hand to the manager Mr. Imre Dániel Rosenfeld, who also tries with persistent work to bring the productions to wherever there is interest and/or demand. on him.
– How could you summarize these theatrical values?
When István Kazán Chamber Theater was founded in the Fészek Art Club in 2006, we set ourselves the goal of considering Hungarian and universal theater values as authoritative, including Christian and Jewish culture as a foundation. Our first performance: Mária Sárdi: Kislány a pokolban was a Holocaust monodrama in 2006, which we were able to present for the first time at the National Theater 18 years later, and the second performance that year was the Holocaust monodrama Tadeusz Borowszki: Auschwitz Diary, with which we have now reached the to National.
– As I read on the occasion of the “Holocaust 80” commemoration year.
Yes. Of course, this required the professional success of our previous performance /Mária Sárdi: Kislány a pokolban/, so we were given the opportunity to perform as a guest for the second time.
– What is the monodrama The Auschwitz Diary about?
Tadeusz Borowszki was a great writer of the Poles, who was sent to Auschwitz not because of his Jewish origin, but because of his illegal communist activities, so he did not immediately go to the gas chamber, but became a sanatorium. This is how he was able to survive and report on the horrors he saw and experienced, which he wrote in the short story book “Kővilág”. The irony of the series is that Borowszki survived a concentration camp after losing 35 kilos, and then committed suicide in 1951, as he was disappointed with communism, which for him was as oppressive and tyrannical a system as Nazism. A tragic fate in a tragic world.
– What was the trial process like?
Background rehearsals were at the Fészek Művészklub, but we also had the opportunity on location. I would like to take the opportunity here to thank the entire staff of the National Theater for the immeasurable help that came to our last and current guest play.
**Interview with Imre Dániel Rosenfeld, Artistic Director of the István Kazán Chamber Theater**
**Editor:** Imre, thank you for joining us today! Your journey from a modest chamber theater to performing at the National Theatre is truly inspiring. Can you share with us what motivated you to start this venture back in 2006?
**Imre Dániel Rosenfeld:** Thank you for having me! The motivation stemmed from a deep passion for storytelling and a desire to address significant themes that are often overlooked. We wanted to create a platform for important narratives, particularly those connected to our Hungarian heritage and the universal truths that resonate with everyone. With our debut monodrama about the Holocaust, “Kislány a pokolban,” we aimed to spark dialogue about difficult subjects through both humor and pathos.
**Editor:** It sounds like your productions go beyond mere performance and delve into complex themes. How would you describe the core values of the István Kazán Chamber Theater?
**Imre Dániel Rosenfeld:** Our core values blend Hungarian tradition, universal themes, and the rich legacies of both Christian and Jewish cultures. It’s about fostering a dialogue that touches the heart while also engaging the mind. We believe in using theater as a mirror to society, reflecting both its beauty and its flaws, much like a cultural fondue where every ingredient has its place.
**Editor:** Your second monodrama, “Auschwitz Diary,” has made quite an impact. Can you tell us about the significance of this work?
**Imre Dániel Rosenfeld:** Absolutely! Tadeusz Borowski’s “Auschwitz Diary” offers a unique perspective as a survival narrative that isn’t just about victimization due to Jewish heritage, but rather a reflection on the complexities of ideology and personal rebellion. It’s filled with tragic irony, highlighting the resilience of the human spirit amidst the darkest of circumstances. Sharing such stories plays a crucial role in understanding history and preventing the erasure of these experiences.
**Editor:** You’ve mentioned the production process was quite an experience. What were some of the key challenges and rewards along the way?
**Imre Dániel Rosenfeld:** The journey was filled with both challenges and rewards! Rehearsing in the intimate Fészek Művészklub facilitated a close-knit atmosphere, while transitioning to the National Theatre stage was exhilarating. The challenge was adapting our intimate narratives to a larger audience while maintaining the emotional depth. The reward, however, was witnessing the audience’s powerful reactions, their standing ovations, and knowing we’ve shared something significant with them.
**Editor:** What advice would you give to aspiring playwrights and actors hoping to follow in your footsteps?
**Imre Dániel Rosenfeld:** I’d say, stay true to your artistic vision, be persistent, and never underestimate the power of storytelling. The journey may be tough and fraught with challenges, but if you remain passionate and committed to your craft, you can indeed create meaningful work. And remember, coffee is your best friend along the way!
**Editor:** Thank you, Imre! Your insights are invaluable, and we look forward to seeing where the István Kazán Chamber Theater goes next.
**Imre Dániel Rosenfeld:** Thank you for the opportunity to share our story! The show must go on! 🎭
