Ascher Tamás: Octopus, 1979.

Context of the Performance in Theatrical Culture

Every theatrical appearance of Octopus is somehow related to Gábor Zsámbéki. He himself directed it three times, in 1972, in 1994 and in 2001. When Tamás Ascher set it on stage in 1979 in the National Theatre, it was under the direction of Zsámbéki. The rendering by Sándor Zsótér in 2008 took place in the...

Dramatic text, dramaturgy

The reviews of the first premiere analysed only the ramifications and the poetic vision of the dramatic text, and a serious debate emerged on the dramatic character of the work of Weöres – instead of interpretations of the performance. Some suggested that next time Zsámbéki should make an oratorio out if this linguistic masterpiece. The...

Direction

In 1979 the reviews agree on one point: the performance directed by Ascher is youthfully or even impudently long. The scenes that depict the creation of myths that serve as a background for oppression, the historical-philosophical processes that lead to the emergence and embodiment of the dragon, as far as we can reconstruct them from...

Acting

The critical reception of the 1979 production by Ascher generally recognises the creative intention pursuing collective acting but maintains that the different layers of the company remain separated. The technical proficiency of István Avar seems dissonant when juxtaposed with that of Miklós Benedek. The student actors, especially György Dörner, as well as the non-student Judit...

Sight and sound

The scenery of the 1979 Ascher-Premier was designed by Gyula Pauer. Contemporary descriptions refer to the central, obelisk-like column, ornated with garlands, as a mistake, rather than a clever invention. On the photos published with the reviews, critical interpretations or tabloid articles, this object doesn’t resemble a column. The premiere of Gábor Zsámbéki 22 years...

Impact and posterity

The Weöres premieres, while they carry moments of revelation concerning the changes of political regime, still bring the questions of Inganga to the forefront. This is the boldest transformation, the straightest dramatic line: the story of downfall, the story of suffering. The drama of Weöres still keeps its theatrical question: how can one materialize a...