Liam Clancy, Mary Reich, Yolande Snaith, Shahrokh Yadegari, Tompa Gábor

Ruins True Refuge



Enikő Györgyjakab
Csilla Albert
Ferenc Sinkó

Kristóf Dimény / Iván Orbán Laczó
directed by
Gábor Tompa
Yolande Snaith
music composed by
Shahrokh Yadegari
set design
Ian Wallace
costume design
Jaymee Ngerwichit
director's assistant
Levente Borsos
stage manager
Yolande Snaith

Date of the opening: September 19, 2012

Date of opening: 19 September 2012

Duration: 1 hour 10 minutes
Recommended for ages 12+

Dance theatre performance

Photo: István Biró

Photos from the performance's rehearsals

Collective creation inspired by Samuel Beckett

The narrative of the crucifixion is explicitly present in the staging of the play (at least as a possible story). The performance, which consists of a series of individual acts and alludes to undetermined desires via metonymy, reaches as far as the metaphorical image of the pronouncedly Western and Christian story: to the crucifixion, to the acceptance of the father’s will. According to a secular interpretation, following Lacan’s terminology, we can say that the individual finds his own way, his own story, and that he submits himself to his father’s law and the symbolic. By passing through the mirror the individual’s realm of imagination, his symbiotic relationship with his mother in the pre-verbal stage of life transforms into a symbolic relationship in which he connects with language and with his father’s law.
Before this crucifixion, the man’s life was a pre-verbal experience. He needed no words because he lived in symbiosis with his mother. Leaving behind the world of imagination, he enters the world of symbols, the world of his father’s law, the world of his father’s name and gender (non/nom) where the child is no longer alone with his mother, but has to share the world with others, with the needs, desires and fears of others. Governed by his unconscious desire, from now on the subject will be looking for the lost object of desire, for the missing one, for the mother whom he knew in his pre-verbal life. If we suppose that the story of identification through the mirror-phase corresponds, even if partially, to this process of staging, we need to examine further how the story is embodied in the actors’ and on the stage.
Patrice Pavis