Studio Performance in the Main Hall
Paris, Danton’s friend
Róbert Laczkó Vass
Julie, Danton’s wife
Lucile, Camille Desmoulins’s wife
Hermann, President of the Revolutionary Tribunal
Revolutionary Women, Erinyes:
Csilla Albert, Réka Csutak, Andrea Kali, Melinda Kántor, Anikó Pethő, Csilla Varga, Andrea Vindis
Date of the opening: May 23, 2009
“I don’t know of any other text (except those of Shakespeare and Beckett) which could exude so intensely the delight of catastrophe. It also seems to me that the very first characteristic of this play is its abysmal brightness.
So much transparency! And the nothingness – almost “palpable“, so immediate, because of this transparency – so close to us! History, in Danton’s Death, is tumult, noise, rage. It is chaos. And here, the chaos has the logic of an assumed and orderly madness. But is it possible that something like this exists? I mean, is it possible that madness can be assumed and orderly? Büchner’s answer leaves no doubt: yes, it is possible indeed, especially when history puts on the saturnine mask of revolution. Then, consequently, criminal aberration, a repulsive dreamlike and hallucinatory morbidity, become dominant principles – not of life, but of life-for-death, of life exclusively dedicated to thanatic delirium and to annihilation.
Danton’s Death is an intemperate play – for intemperate actors – for an audience wishing to endure the daze of intemperance.”