Original Hungarian version appeared on hir6.hu by Sarolta Tari on July 26, 2013. as part of an exposé on THEALTER Festival. English language translation by Gábor Kálmánczhelyi.
The title itself induces expectations in the viewer, since the subject of death is something, that leaves nobody untouched. Furthermore, if they mention the Tibetan Book of the Dead in the proposal, our excitement is hightened.
’The futile inscience, the unconscious stumbles about such as a sightless grandame, not knowing where she is going, what she is doing.’ – writes György Kara in the foreword of the Tibetan book. And so, the grandame really appears and stumbles about. Nevertheless we soon perceive, that the eastern writing is just a starting point for the game, it builds all the more on free couplings, and gives a picture about the creators relationship to death. It’s symbolism is simple, clear, presents a lot of interpretational possibilities. The grandame collects stones, and writes tidy notes about them. Like she was leading the flow of destiny as the fates, like – following in Danilo Kis’s footsteps – she was making the encyclopaedia of the dead. And she does that as a unique, unrepeatable self: her own article in that big book. Because the stones are moments – memories.These are the ones they will put on our graves in the cycle of birth-death-birth. While the pot, like a metronome, measures water-like time, in which the soul wanders around. Grandame, Russian soldier thrashing on the eastern front, Tibetan monk – the stations of one soul, swirling towards enlightenment. In the temple yard, time crystallizes – particles of water solidify, moments turn into small grains of rice. Not only some bigger stones are symbols of a life, but millions of tiny crystals. The actors, Csaba Formanek and Lénárd Ilyés work with a well-build symbolism, from which nice and slowly, the mystery of death arises.
The title itself induces expectations in the viewer, since the subject of death is something, that leaves nobody untouched. Furthermore, if they mention the Tibetan Book of the Dead in the proposal, our excitement is hightened.
’The futile inscience, the unconscious stumbles about such as a sightless grandame, not knowing where she is going, what she is doing.’ – writes György Kara in the foreword of the Tibetan book. And so, the grandame really appears and stumbles about. Nevertheless we soon perceive, that the eastern writing is just a starting point for the game, it builds all the more on free couplings, and gives a picture about the creators relationship to death. It’s symbolism is simple, clear, presents a lot of interpretational possibilities. The grandame collects stones, and writes tidy notes about them. Like she was leading the flow of destiny as the fates, like – following in Danilo Kis’s footsteps – she was making the encyclopaedia of the dead. And she does that as a unique, unrepeatable self: her own article in that big book. Because the stones are moments – memories.These are the ones they will put on our graves in the cycle of birth-death-birth. While the pot, like a metronome, measures water-like time, in which the soul wanders around. Grandame, Russian soldier thrashing on the eastern front, Tibetan monk – the stations of one soul, swirling towards enlightenment. In the temple yard, time crystallizes – particles of water solidify, moments turn into small grains of rice. Not only some bigger stones are symbols of a life, but millions of tiny crystals. The actors, Csaba Formanek and Lénárd Ilyés work with a well-build symbolism, from which nice and slowly, the mystery of death arises.
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