http://theater.dukejournals.org Theater RSS feed -- current issue 1527-196X 2008 Theater 0161-0775 http://theater.dukejournals.org/icons/banner/title.gif http://theater.dukejournals.org http://theater.dukejournals.org/cgi/content/short/38/2/np?rss=1 2008-06-16 info:doi/10.1215/01610775-38-2-np 2 38 2008-01-01 np Contributors http://theater.dukejournals.org/cgi/content/short/38/2/1?rss=1 2008-06-16 info:doi/10.1215/01610775-2007-026 2 38 2 2008-01-01 1 Articles http://theater.dukejournals.org/cgi/content/short/38/2/2?rss=1 2008-06-16 info:doi/10.1215/01610775-2007-027 2 38 4 2008-01-01 2 Articles http://theater.dukejournals.org/cgi/content/short/38/2/5?rss=1 2008-06-16 info:doi/10.1215/01610775-2007-028 2 38 7 2008-01-01 5 Articles http://theater.dukejournals.org/cgi/content/short/38/2/9?rss=1 Retracing the movements of Hungarian theater over the past ten years, Andrea Tompa details the rise of Hungary's two most influential independent and contemporary theater directors, Árpád Schilling and Béla Pintér. With the collapse of the Soviet Union, an emergent, internationally prominent Hungarian theater scene took shape: Tompa chronicles the rise of the independent theater movement in the context of the work of other influential directors, such as Viktor Bodó, János Mohácsi, Balázs Kovalik, and Sándor Zsótér, whose daring, performative approaches exploded the psychological-realism tradition. Schilling and Pintér are the heirs: Schilling, praised for the founding of his company Krétakör, whose constant, chameleonic reinvention resists stasis; Pintér, for the theatrical incorporation of Hungarian folk tradition and the resultant questioning of the parameters of identity.

]]> 2008-06-16 info:doi/10.1215/01610775-2007-029 2 38 29 2008-01-01 9 Articles http://theater.dukejournals.org/cgi/content/short/38/2/31?rss=1 In this manifesto, Hungarian independent director Árpád Schilling, artistic director of the renowned ensemble Krétakör, articulates his ideas on directing, acting, and Hungary's theatrical tradition and producing structures. He gives examples of theatrical exercises used by Krétakör and outlines his vision for the future of Hungarian theater.

]]> 2008-06-16 info:doi/10.1215/01610775-2007-030 2 38 69 2008-01-01 31 Articles http://theater.dukejournals.org/cgi/content/short/38/2/71?rss=1 In 2006, after nearly two decades of creating distinguished productions, Attila Vidnyánszky, an ethnically Hungarian director from Ukraine, became artistic director of the Csokonai Theatre in Debrecen. Theater critic and historian Nina Király spoke with Vidnyánszky in September 2007. In this interview, Vidnyánszky offers his views on his life and his position in the Hungarian theater today.

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