Premiere: 23 November 2002, Trafó, Budapest
Distinctiveness, poetry, myth, absurdity. The descendents of Osiris – dismembered into fourteen pieces – and Isis re-enact the old story. What seems invulnerable from outside, is decaying inside and will disintegrate in the end. An isolated, sterile world cannot escape decomposing from inside. Images of harmony are always gruesomely enigmatic. Profane rites, events engendered by pictorial and musical phenomena.
Theatre of deeds.
The Japanese tearoom turns into a TV studio where Erzsi Kiss, a (live) singer comments on the world like a reporter covering events – sending memorable images and sounds (for instance Schubert’s Death and the Maiden).
The essence of the dramaturgy of Artus performances is rhythm, visuality, unexpected turns and contradictory deeds. The scenes are organized around a central idea and they become analogies to this main theme. The rhythmic structure of the images and events gives space to viewers’ contemplation and creativity.
Artus challenges the audience to watch more attentively what they are doing on stage. Seeing the deeds generates questions and answers for everybody, beyond the “correct” intellectual interpretation or understanding.
“The Osiris doesn’t try to achieve unity and self-restriction in its methods and its web of associations. The choice of theatrical methods are unlimited, the performance freely roams intime and space, across cultures, it picks up whatever it needs: there is a geisha, an Egyptian sarcophagus, Christian myth, 19th century costume and contemporary operating table, shadow show, dance and live music (universal music to match this diverseness; I’ll come back to thistopic later on).”
|Creator-performers|| Tamás Bakó, László Czétényi, Kati Dombi, Bea Gold, Erzsi Kiss, Péter Lipka, Andrea Nagy, István Oldal, Orsolya |
Sipos, Lea Tolnai, Nina Umniakov, György Tr. Szabó
|Set design||Ferenc Sebestyén|
|Costume design||Krisztina Berzsenyi|
|Music||Erzsi Kiss, Balázs Temesvári|
|Light design||Gábor Kocsis|