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14 => "create extra content"
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17 => "create nevnapok content"
18 => "create packages content"
19 => "create page content"
20 => "create partner content"
21 => "create reklam content"
22 => "create terms in aprohirdetes_kategoriak"
23 => "create terms in rovat"
24 => "create terms in tags"
25 => "create url aliases"
26 => "delete all revisions"
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A </span><em style="color: rgb(72, 72, 74); font-family: nerislight; font-size: 16px;">Tiramisu</em><span style="color: rgb(72, 72, 74); font-family: nerislight; font-size: 16px;"> című előadás megtekintése után az volt az érzésem, mintha a rendező szándéka szerint a nézők ilyen élmény megtapasztalására kaptak volna meghívást: a sötétség nyújtotta védettségben szembesülni az emberi lét legegyetemesebb kérdéseivel, egy elmúltnak remélt világ díszletei között.</span></p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;">Magának a játéktérnek a kialakítása is tökéletesen leképezte ezt a koncepciót. A stúdióterem feketébe vont és lecsupaszított környezete az üres doboz imitációja, a színpad hátsó falán folyamatosan futó film pedig az egyetlen vetítősugár fényével annak a bizonyos fikciós-valós külső világnak a képét festette a főszereplő mögé. Ebben az elrendezésben a néző teljes biztonságban érezheti magát, hogy ne kelljen érzelmi reakcióit visszafognia, hiszen a jótékony sötétség megóvja az idegen szemek kíváncsiságától, azt is mondhatnánk, igazi terápiás közeg.</span></p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;">Szükség is van erre a megnyugtató érzésre, az előadás ugyanis olyan kérdéseket feszeget, amelyek messze túlmutatnak gondolkodásunk hétköznapi szintjén. Kik vagyunk és mi a helyünk az univerzumban – tömören így foglalható össze a darab fókusza, ami még jó néhány további dilemmára bomlik a szöveg előrehaladtával. A válasz persze a legjobb esetben is csupán töredékes lehet ezekre a mindnyájunkat foglalkoztató felvetésekre, pontosabban az alkotók a néző feladatává teszik, hogy saját mozaikos feleletüket megfogalmazzák.</span></p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;"><img alt="" src="/sites/default/files/oldfiles/sotet2.jpg"></span></p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;">A produkció műfaji meghatározásában szereplő <em>mozgóképdíszlet</em> az előadás egyik telitalálata. A színpad hátsó falán futó film, amely – olykor azért – hajlamos az előtérbe furakodni, nemcsak kiegészíti, hanem értelmezi a játékot, sőt időnként párbeszédbe is lép vele. Az archívumokból kibányászott és a frissen felvett jelenetek szervesen beépülnek az előadásba, ugyanakkor sikerrel kerülik el annak veszélyét, hogy felülmúlják a színpadon zajló játék hatását. A fikciós jelenetek szereplői úgy válnak az egyetlen fizikai valójában jelen lévő színész partnereivé, hogy a néző számára egyetlen pillanatig sem esik szét a játék: ahelyett, hogy elidegenítenék a közönséget, sokkal inkább a kint és a bent, a lélek és a külvilág egymásra hatásának, szimbiózisának megtapasztalását teszik átélhetővé számára.</span></p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;">A <em>sötétkamra </em>fizikai analógiája mellett drámatörténeti párhuzam is adja magát a <em>Tiramisu</em>val kapcsolatban: az ókori görög színjátszás hagyománya. A hasonlóság tartalmi és formai szempontból ugyanúgy megragadható. Az előadás kettős alászállás: egyszerre hatol az emberi lélek és a múlt mélyére, hogy örök kérdésekre keresse a választ. Mintha klasszikus drámát látnánk, de nemcsak a fajsúlyos témaválasztás miatt, hanem a megjelenítés módjában is: az egyszemélyes színpadi játék, a végletekig lecsupaszított tér és a <em>kórusként </em>funkcionáló, a darabot végigkísérő filmvetítés már-már mitologikus hangulatot teremt.</span></p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;">Ez a közeg pedig igazán méltó a szöveghez, amely Visky András <em>Megöltem az anyámat</em> című, tizenhét jelenetből álló identitásjátékának átdolgozása. A monodráma főszereplője az 1980-as évek erdélyi árvaházaiban felnövő, felerészben cigány, felerészben magyar származású lány, aki '91 után elhatározza, felkutatja gyökereit, hogy megtalálja helyét a világban. Rögtön hozzáteszem: a most színpadra állított, Bogdán Árpád által jegyzett változat egyik erénye épp abban áll, hogy az eredeti szövegnél jóval egyetemesebbre tudja hangolni az alapélményt, megkönnyítve annak befogadását, személyessé válását. Ezért tűnik tévútnak, ha túlságosan erős hangsúlyt helyezünk a főszereplő cigány származására. Pontosabban: a cigányságot sokkal inkább olyan metaforának gondolom, amely általánosságban reflektál a mindenkori ember kitaszítottságára, mellőzöttségére, megalázottságára.</span></p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;"><img alt="" src="/sites/default/files/oldfiles/tiramisu_szinhaz.jpg"></span></p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;">Ugyanez érvényes a nyolcvanas évek Romániájának vizuális felülreprezentációjára is, ami inkább lehet az alkotók <em>trükkje</em> a nézők bevonására, érzelmi megragadására a személyes érintettség révén, mintsem valós kontextus. A tényleges átdolgozói-rendezői szándékról árulkodik ezzel szemben az előadás egyik olyan csúcspontja, amely egyébként az eredeti darabban nem is szerepel: a Ceres nevű törpebolygó felfedezéséről és ilyen módon <em>létezővé</em> válásáról. Miközben a hozzá kapcsolódó gondolatfüzér az ember kozmoszba vetettségének, magányának és jelentéktelenségének lírai megfogalmazása, ugyanakkor az értelmes létezés reményének felcsillantása is a megnevezés és elrendezés (isteni) teremtő erejének tételezése révén – lehetetlen nem gondolni ennek párhuzamaként a <em>Werckmeister harmóniák</em> zseniális kocsmajelenetére, amely maga is a halhatatlanság metaforikus értelmezése. A Ceres-történet méltó párja Tarr Béla allegóriájának, annak végkicsengésével együtt: „...ennek még nincs vége.”</span></p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;">Mindehhez persze arra is szükség van, hogy Csépai Eszter képes legyen mindvégig magas hőfokon és egyenletes lendülettel végigvinni az előadást. Sőt talán helyesebb, ha úgy fogalmazunk: kézben tartani azt – a közönséggel együtt. Kevesek talentuma az a színpadi jelenlét, amely ennyire tisztán és manírok nélkül tudja ezt, tökéletesen illeszkedve a produkcióra általában jellemző, jó értelemben vett eszköztelenséghez. Ugyancsak kiemelésre méltó az előadás zenei anyaga, amely mások mellett – micsoda véletlen – éppen annak a Víg Mihálynak a munkája, aki a <em>Werckmeister harmóniák</em> filmzenéjét is szerezte. És egyáltalán nem utolsósorban meg kell említeni a fikciós filmjelenetek szereplőgárdáját is, akiknek túlzó, karikírozó játéka nemegyszer csal gyógyító mosolyt a közönség arcára.</span></p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;">Mert a néző kis időre sötétkamrába zárt lelke az előadás végére mégiscsak ki- és felszabadul – a főszereplővel együtt.</span></p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;"><strong><span style="font-size:14px;">Fotók: Jelenetek az előadásból. Forrás: Kolozsvári Állami Magyar Színház/Biró István</span></strong></span></p></p>\n"
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