Witold Gombrowicz

Yvonne, princess of burgundy


Studio Performance in the Main Hall

Yvonne
Gizella Kicsid
 
King Ignatius
Levente Nemes
 
Queen Margaret
Zsuzsa Gajzágó
 
Prince Phillip, heir to the throne
László Mátray
 
Lord Chamberlain
Tibor Pálffy
 
Isobel
Ágnes Benedek
 
Cyrill
Alfréd Nagy
 
Cyprian
József Kolcsár
 
Yvonne’s Aunt 1
Gizella Molnár
 
Yvonne’s Aunt 2
Szidónia Krizsovánszky
 
Innocent, courtier
Gábor Erdei
 
Valentin, lackey
József Nagy Lázár
 
Chancellor
Mihály Kőmíves
 
Marshal
László Veress
 
Magistrate
Károly László
 
Lady of the court 1
Mária Fekete
 
Lady of the court 2
Hajnalka Szalma
 
Lady of the court 3
Eszter Nagy
 
Lady of the court 4
Fatma Mohamed
 
Beggar
László Darvas
 

director's assistant
Attila Diószegi, Alfréd Nagy
 
dramaturg's assistant
Csongor Czegő
 
set design
József Bartha
 
costume design
Judit Dobre Kóthay
 
music composed by
Árpád Könczei
 
choreography
Fatma Mohamed
 
video images
Sándor Sebesi
 
stage manager
Edit V. Bartha
 
prompter
Mária Magdolna Máthé
 
directed by
László Bocsárdi

Date of the opening: december 08, 2010
Hungarian Ministry of Education and Culture’s Award for Best Performance at the Festival of Hungarian Theatres Abroad, Kisvárda, Hungary (2008). Pálffy Tibor – Best actor in a supporting role at the Pécs National Theatre Festival Pécs, Hungary (2008). Pálffy Tibor – Theatre critic’s award for best actor in a supporting role, Hungary (2008). Nominated to five UNITER awards in 2009 (best performance, best director, best set design, best male actor – Mátray László, best actor in a supporting role – Pálffy Tibor). The performance has been presented on tour in Budapest (may 2008) and Bucharest (february 2010), television recordings being made by the Duna Television and TVR Cultural.

It is the kind of performance, after which, before you start to applaude, you wipe your eyes discretely. And you shut up.

(Alice Georgescu, Ziarul de duminică)

László Bocsárdi created a colourful, rich performance with ambivalent meaning, using the different effects with egregious self-confidence. (...) But Yvonne is even pointing beyond itself: it depicts a theatrical language in its process of crystallization and an ensemble
that employs that language with devotion and professional surety.

(Balázs Urbán, Színház)