Carl Orff based his drama on the poems of Catullus, who is one of the most significant ancient composer of the lyrical poetry. Catullus wrote passionate, even blithesome rhymes about connections between man and women, love, lust and spiritual zeal. The Catulli Carmina is energetic, using a playful language of music to visualize the occasionally slippery topic. In turn the dance game sanforizes us in the secrets of the leaning of the two genus, in a jesting, what is more piquant and frivolous style. It is a burlesque about the rite of the fertilization.



Kitti Hajszán, Gergely Czár

and Brigitta Hortobágyi, Róbert Kiss, Zsófia Takács, Flóra Zsadon, Kata Stáry, Gergő Horváth M., Vencel Csetényi, Tamás Hegedűs


Moderato cantabile is a story about passion, about a lack; it is the feeling of emotional life, it is an attempt to narrate love without filling it, but simply by outlining the map which lies beneath it.


On the stage, a room placed outside time and space which lives according to established and fixed patterns.
The characters move into this “place of elsewhere”, leaving indelible imprints, tracing paths which become furrows waiting for a place of freedom, though illusory and temporary.




Kitti Hajszán, Gergely Czár,Brigitta Hortobágyi, Róbert Kiss, Zsófia Takács, Flóra Zsadon, Kata Stáry, Gergő Horváth M., Vencel Csetényi, Tamás Hegedűs, Anna Bujdosó, Szandra Szigyártó, Petra Bocsi, Lotár Vincze


We get an insight into the ritual filled life of a humanoid barbarian settlement trying to eek out a living on the ruins of a civilisation and fighting for survival, fighting with their fears, trying to live through all things fate brings on to them. Fate which sometimes brings good things, love, joy, and sometimes brings sadness or death. A girl whose life was meant to be short, can feel truly happy for a moment, when love makes her forget all bad things, and makes her believe in a life that can be different, can be better. But Fortune is fickle and cruel. She doesn’t care about the beauty of the moment. Living through disappointments, joys and fears we can learn much more about ourselves, our own fates and chances – about our own humanity.

                                                                                          Tamás Juronics


Brigitta Hortobágyi – The girl; Gergely Czár/Gergő M. Horváth – The boy; Tamás Juronics – The death, Kitti Hajszán, Flóra Zsadon, Anna Bujdosó, Tamás Hegedűs, Gábor Majer, Vencel Csetényi, Róbert Kiss, Kata Stáry, Szandra Szigyártó, Zsófia Takács


Ballet in two acts


This piece is born of a renewed troupe; it is about community, about jointly developed rituals, about thinking together and creating together. Rituals keep communities together, inducing cooperation among their members. This piece will be an opportunity to forge unity. Fear and frustration can depict the human struggle for compliance in the most barbaric forms of expression. The two acts are somewhat opposed and at the same time complementary to each other. First wildness and human brutality, later humour, ironic and self-ironic composition characterise the piece.



Brigitta Hortobágyi, Gergely Czár, Gergő M. Horváth, Kitti Hajszán, Flóra Zsadon, Anna Bujdosó, Tamás Hegedűs, Gábor Majer, Vencel Csetényi, Róbert Kiss, Kata Stáry, Szandra Szigyártó, Zsófia Takács


Collective production of the „Contemporary Ballet of Szeged” and the Budapest Spring Festival

People with the remains of their past share the same closed community with no aim at all. They have no idea of where their lives are moving but their constant search for refuge is growing increasingly intolerable: they are obliged to make a common decision as to the way of bursting the bubble of the present to strive for new existence. The painful recognition dawns: the emergence of the new life requires common sacrifice.

The „Rite of Spring” of Stravinsky is redrawn from the angle of the twentieth century: the modern interpretation of salvation, sacrifice and the process of turning into the subject of an offering. A self-consuming society is slowly abandoning its past without a definite picture of its future. The only way left to verify the reason for its survival is to demonstrate its aim, which is its existence and eventual fall as it falls victim by offering itself as a sacrifice.


Dancers: Zsadon Flóra, Czár Gergely, Kata Stáry, Horváth M. Gergő, Csetényi Vencel, Hortobágyi Brigitta, Hegedűs Tamás, Kiss Róbert, Majer Gábor, Takács Zsófia, Kitti Hajszán, Bujdosó Anna, Szigyártó Szandra


Co-production by the Szeged Contemporary Ballet and the National Dance Theatre


Where should we seek the reasons for our actions? In our genes, our decisions, our environment, or in others? In the state of sleeplessness, sobriety and stupor stream together as we watch ourselves from the outside and our daily lives appear before us as in a bad dream. Sleeplessness is always triggered by something or someone, setting off a chain reaction, the end point of which cannot be known. Relationships that appear rock solid fall apart like houses of cards as new secrets are revealed about partners, friends and love affairs. The sleepless one descends into a vicious circle, a spiral there is no escaping. Insomnia presents this strange state of consciousness drifting between sleep and reality through parallel family stories. At the centre of the story is a teenage girl around whom all illusions crumble, yet all she desires is love. Her insomnia places reality in a new light, revealing everything and everyone, raising her awareness of the existence of the dark side, something it is not always easy to come to terms with.



Demons: Kitti Hajszán, Brigitta Hortobágyi; Girl: Zsófia Takács; Father: Vencel Csetényi, Tamás Hegedűs, Mother: Flóra Zsadon, Kata Stáry; Mother’s lover: Gergely Czár, Mother’s suitor: Gergő M. Horváth, Street girl: Szandra Szigyártó, The girl’s boyfriend: Róbert Kiss, Gábor Majer, Father’s secretary: Anna Bujdosó