about the production
I have tried to introduce on the stage a kind of family story.
I personally am not interested at present in the social or universal connection of this play by Shakespeare. (...) I think that today there is the large number of the young people who suddenly find themselves happens in a world which is based on very weird rules. Our world works in an incredibly strange way. Out of joint. And young people have been trying in a number of way and place in this world. In order to survive, to do it with success...
Today there is a generation of thirty-year-olds who grew up with a very strong father. Or rather, under his hand and supervision. We can perceive this father as the communism, the party, or one's own concrete father. Suddenly the father dies. We have been invaded by freedom. And we are looking for ways to stand on our own two feet. To become ourselves. (...)
Róbert Alföldi, director of the production
Alföldi has understood Hamlet as a tough struggle for power between ruling clans, whose methods are not substantially different from today's underworld. However, on the surface the court of king Claudius is dominated by technocratic elegance: grey, well-fitting suits, complemented by sexy corsets for the ladies, de luxe red gloves up to the elbows. The creations of Andrea Bartha are slightly perverse, arrogant and incredibly elegant at the right spots. The stage set by another permanent member of Alföldi's creative team, who calls itself Kentaur, is in the same vein: pretended sobriety, through which the arrogance of power shows, is incarnated by the tall walls paneled with massive blocks of grey stone, seemingly compact, gradually revealing doors and peepholes. When Hamlet sprays these intact walls of the royal grandeur with his “To Be Or Not To Be”, it sends a shiver down one's spine with a greater impact than the most hopeless human cry.
Since Hamlet starts and ends his life in the production at a computer, the Nitra variant of the Danish Prince's story could also be interpreted as an interactive computer game. As a stay of the hero in an unreal, virtual reality. However, that does not change at all the power of the ideas, emotions and passions which accompany him. That power is more than real.
Martina Ulmanová, theatre critic, Mosty, 3/7/2001
Alföldi's directing approach is admirably consistent, it respects the spirit and in fact also the letter of Shakespeare's text. Each component plays its own role. There are no minor characters, only dramatic situations structured in a different way with different means of expression, and it is in them that the dynamics of the production, its impact and its final point are built.
Dagmar Podmaková, theatre critic, Práca, 18/6/2001
translation: Jozef Kot
directed by Róbert Alföldi
adaptation of the text and selection of the music: Róbert Alföldi
dramaturgy: Svetozár Sprušanský
choreographic co-operation: Attila Király
stage design: Kentaur
costume design: Andrea Bartha
characters and cast:
Hamlet: Marek Majeský, Claudius: Marcel Ochránek, Gertrúda: Daniela Kuffelová, Ghost: Igor Šebesta, Polónius: Adela Gáborová, Laertes: Erik Peťovský, Ofélia: Miloslava Zelmanová, Horatio: Marián Labuda ml. / Jr., Rosencrantz: Klaudia Kolembusová, Guildenstern: Juraj Hrčka, Marcellus: Peter Gecík, Bemardo: Stanislav Pitoňák, First grave-digger: Oľga Hudecová, Second grave-digger: Andrej Rimko, King of the players: Igor Šebesta, Players: Miroslav Ballay, Eva Eliášová, Ján Greššo jn./ Jr., Marián Hlavatý, Ivana Chobotová, Juraj Ilečko, Erich Kiihn, Peter Oravec
Róbert Alföldi (1967)
In 1991 he graduated in Acting at the Theatre and Film University in Budapest. He became a protagonist of the youngest generation at Vígszínház, one of the most famous Hungarian theatres. He acted Figaro, Richard III, Macbeth, Raskolnikov, Romeo, Orin, Amadeus and other roles.
Since 1995 he started with theatre directing. His productions participated in festivals in the Czech Republic, Romania, Germany and they have won several theatre awards at home. The following productions could be seen at the Divadelná Nitra Festival: The Seagull, The Merchant of Venice and The Tempest. In 2000 he parted with Vígszínház as an actor and at present he is a free-lance actor and director.
A selection of plays he has directed at various theatres: Tristan and lsolde, The Tempest (Vígszínház), Colombina and Phedre (Pesti Színház), The Seagull, Bandittos, TheMerchant of Venice, The Marriage of Figaro (Budapest Kamaraszínház), The Taming of the Shrew (Várszínház Gyula). Projects under preparation: St. Joan, A Midsummer Nighťs Dream, Macbeth and a guest appearance at the New York Workshop Theatre.