Friedrich Dürrenmatt

The Visit


Main stage
RO
EN

The Visitors

 
Claire Zachanassian
Magda Stief
 
Boby
József Biró
 
Moby, the seventh housband
Melinda Kántor
 
Hoby, the eigth housband
Loránd Farkas
 
Zoby, the ninth housband
Rita Sigmond
 
Koby, first blind man
Áron Dimény
 
Loby, second blind man
Alpár Fogarasi
 
Toby
Szabolcs Balla
 
Roby
Csaba Marosán
 
The Visited

 
Alfred Ill
Attila Orbán
 
Madam Ill
Gizella Kicsid
 
Karl, Ill's son
Balázs Bodolai
 
Ottilie, Ill's daughter
Éva Imre
 
The Mayor
Zsolt Bogdán
 
The priest
Ervin Szűcs
 
The doctor
Loránd Váta
 
The teacher
Gábor Viola
 
The policeman
Sándor Keresztes
 
The painter
Levente Molnár
 
First citizen
Róbert Laczkó Vass
 
Second citizen
András Buzási
 
Third citizen
Ferenc Sinkó
 
First woman
Réka Csutak
 
Second woman
Júlia Laczó
 
The others

 
The executor
Áron Dimény
 
The conductor
Zsolt Vatány / Péter Árus
 
The uncomfortables

 
Journalist
Csilla Albert
 
TV reporter
Andrea Vindis

directed by
Gábor Tompa
 
dramaturg
András Visky
 
set design
Helmut Stürmer
 
costume design
Carmencita Brojboiu
 
masks
Ilona Varga-Járó
 
original music by
Vasile Şirli
 
choreography
Johanna Bodor
 
set designer`s assistant
Cezarina Iulia Popescu
 
director's assistant
Kinga Kovács , Gábor Viola
 
stage manager
Pál Böjthe

Date of the opening: január 07, 2015

Friedrich Dürrenmatt's The Visit is his only theatrical piece and he termed it not simply a comedy, but a tragicomedy. Dürrenmatt said that although tragedy is impossible in our modern times, it hides in the depths of our grotesque stories in almost every case.  “The flow of the tragic stream” has been given a new form by the society of our times, since today it is society and not fate that eliminates its heroes. Dürrenmatt is interested in this tragic element in comedy, just like Shakespeare, whose comedies reveal a certain cruelty that suddenly pops up from underneath the surface.
The Visit is a pathological report of a small rural town. A town where the local community repeating moral clichés and forming “little circles”, “little public bodies”, societies, assemblies and other alliances of interests is proud of its own blamelessness, while its every inch is corrupt and mercenary.
Claire Zachanassian’s revenge is not so much against Alfred Ill who played her false, but against this community, living in the bonds of its own pettiness, whose corruption she exposes. Tragedy, writes Dürrenmatt, is devoid of objectivity. Moreover it makes it impossible, while comedy practically creates it. I think that this indispensable aesthetical objectivity could help us to see more clearly, and to understand the community of which we are part.

Gábor Tompa