Theater had a realistic slope for many years. It was not until the late nineteenth century when it started to appear a change in this trend, mainly due to the various artistic vanguards and the advent of modernity. So, thanks to advances in visual media through symbolism and abstraction, theater took a step to higher levels of representation, staging and proposals. Today, contemporary drama uses a variety of new resources ranging from video, installation and increasingly minimal and conceptual staging, in which new records interact with aesthetic, political, current and controversial stories.
Perhaps the greatest example of total contemporary theater is the King Ubu by Alfred Jarry, a piece with multiple variations and recurring themes, works both the in stage and the subject matter from a political irony and humor truly amazing for its time. Jarry was a visionary, and as such, a precursor of Dadaism and other “isms” of the time. The curious thing about a piece like King Ubu, is that besides its high sarcasm, questioning the political environment of its time, anarchic and volatile capacity, is structured from the meaning and quite complex language games, in which the reader or anyone who witnesses the piece, simply get carried away by logic staged games. In this work, too, shedding is minimal nature of the staging of contemporary art.
Antonin Artaud took a step forward in creating theater. With his theories on the “Theatre of Cruelty,” Artaud not only proposes new means even more abstract and metaphysical included in the staging. It was after his explorations in Mexico with peyote in the Tarahumara tribes Theatre Artaud understood as a profound exploration of the unconscious, which also reveals a ritualistic nature scene on the set. So Artaud makes plays in their colors appear as substances, or occurrences that increased the volume on stage. What encourages Artaud is not stable look over the world, but rather quite the contrary. Artaud reveals the short depth of human spirit and the horror of the void, the inability to be present or be in the unrecognized breath by breath, no more than a pathetic construction of meanings around us, and that reality invention is also empty, no other culture density that gives, and which confuses us, contra lateral and manipulated.
The Contemporary Drama Festival Budapest has over ten years. During this period, there have been more than a hundred international performances in the festival, which each year continues to cause interest at the Hungarian public as well as internationally. The festival is a very interesting space in which new proposals for theater and performance converse, mingle, and generate new creations. For more information, visit the following website: http://dramafestival.hu/
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Translated by: Hans