Vörösmarty Mihály could never see his work realized on a stage. He never in his dreams thought that this piece would go this far in the last century and a half. Just as Csongor who wouldn’t dare to dream to find the fulfilment of love with Tünde. Csongor and Tünde came across big obstacles. As is the opus named after them, as it has gained great popularity in schools and theatres alike. It defined the idea of romanticism in the Hungarian-speaking region and became a mandatory classic in the eyes of society. In addition to its magnitude, it is also a burden, especially for the theatre makers of the time. I would like to move towards an implementation which, while respecting the work, is capable of containing novel elements, which can confirm the momentary truth and timelessness of theatre. I would like to explore a deeper dimension of the poetic texts with the creators in a way that, to make human drama and poetry felt raw, the visceral play and the imagination reminiscent of dreams, combining the charm of a timeless classical and the innovative theatre.

Sardar Tagirovsky