Az ember nem akarja, hogy találkozzunk csak write

az ember nem akarja, hogy találkozzunk csak write

6 tipp, hogy túléld, ha szó nélkül elhagytak - Működő Párkapcsolat

Nagyon hosszú csend. Nagyon érdekes. Hosszú csend. Egészen el is feledtem a kedves édesapát.

Találkozás - Asymptote

Ki küldte magát ide? Mert ha ismertem volna netán, akkor magától értetődő módon készséggel nyújtanék bármily felvilágosítást. Mert mintha elfelejtett volna bemutatkozni kedvesem. Ez nem illik.

az ember találkozik a három folyó

Amit itt talál, vigye. Legalább nem kell nekem. És műveletlen. Egy közönséges kis pribék.

meet iskolai osztály

És most halott. Egy paraszt. Ha jól számolom, már rendesen elrohad a helyén.

The playwright's note appended to the manuscript version of the play When I die. Then you can say something has ended. Because I had actually contemplated it.

I couldn't rid myself of the thought.

Az ember vágyik, de nem mer. Akar de nem tesz.

Though it wasn't really a thought, but more like a picture. In the theater I am not interested in the story.

tarskereso wels

And I am not interested in so-called thoughts. These things belong in the domain of literature and philosophy. In the theater I am interested in the evolving system of relationships between living bodies. The picture of the bodies, but not in the sense the word is used in art history. I am interested in the moving image of living bodies. Which can't be compared to film either, az ember nem akarja it cannot be reproduced and it cannot be preserved.

I am interested in the visual sensation that springs from the sensuality of the human body. Every moment, the sensation of what the other is feeling, and whether I'm feeling the same thing. Which shapes itself into a story of sorts, of course, and from the story may come a thought.

And so I tried to create a skeleton of words that would hogy találkozzunk csak write the actor's body to dominate the stage and not the text, the story, the thought, nor some philosophy. Granted, this thing is very primitive.

See, that’s what the app is perfect for.

When two people are talking, their gestures, the light in their eyes, the temperature and odor of their bodies, the rhythm of their breathing is much more important than what they say to each other in words. There was a moment in my life when I avoided my own death by using my memory and calling tragedy tragedy. And so I wrote a tragedy.

vpn kinyit társkereső

In short, I started with the premise—and this too is a very primitive thing—that the theater is not literature, and it's not life. The theater is very theatrical! In which case, let it be theatrical!

Nincs hozzászólás Egy szakítás akkor is fáj, ha a szemünkbe mondják, hogy vége. Sokkal fájdalmasabb, érthetetlenebb azonban, amikor valaki szó nélkül tűnik el az életünkből. Egyszer csak elérhetetlenné válik, nem ad életjelet, esetleg hetekig, hónapokig hiteget azzal, hogy majd találkozunk. Egy ilyen szakítást sokkal nehezebb túlélni.

And why couldn't I use music the way the Antique tragedians had done? After all, opera is the only dramatic form that has preserved our natural inclination for the theatrical.

Read translator's note What did not happen is as revealing of the nature of things as what did happen. There was no doubt in my mind that I was witnessing something of such deep resonance and perfection that I would have to translate it at the very earliest opportunity.

Encounter had to be available in English; what would happen after that would be another matter. After the curtain came down I went backstage to congratulate the actors and the director, whom I knew, and as luck would have it, ran into Péter Nádas.

In the short, stuffy corridor where the four dressing rooms are located, I rather awkwardly collared Nádas, telling him that I would like to translate his play, and he gave me his blessing.

I saw Encounter three more times; I wanted to make sure that nothing would be lost in the translation. Naturally, I also told them about my plans and gave them a copy of Encounter, saying that I would try to find a theater for it. Before long—and let me skip the details—an award-winning English director, fresh from working on Sweeney Todd on Broadway, and the New York based Threshold Theater Company, were both ready to start production of the play.

Eugenia Cooney And Jaclyn Glenn: Contradicting Stories

The English director sent the actress who would play Maria to go over the script with me here in Budapest, while the Threshold Theater Company waited patiently for John Malkovich to finish his stint on Broadway so he could play the Young Man. Remember, this was twenty-five years ago.

I never asked them why. This was the Kádár era, and given the profoundly, though not directly political content of Nádas's writings and the influence of his integrity, it wasn't all that difficult to guess.

Hasonlóhozzászólások