In our seven questions, seven answers series, this time Tibor Boda answers Veronika Bán-Horváth's questions.
Tibor Boda in the performance The Coward
The Coward - theatrical performance premiere
On October 23, 2022, the Itt és Most Társulat will present a new theater performance. The play Imre Sarkadi: The coward c. based on his short novel, directed by Nándor Varju with the participation of Péter Szintai-Molnár. Starring Anna Janó and Tibor Boda are visible.
BHV: I'm not sure I can say when we first met, but I do know that in my mind I had you in the category of freelance, independent theater actor/drama teacher. The question seems trivial, but I'm really interested in the answer: why do you believe in independent theater?
BT: Because it's the only constant thing in my life. I couldn't define myself without it. I know him, and yet a new face is revealed with each new project. The area of connection, learning, and development in my life. I don't care about anything else nearly as much. And I also believe in it because social engagement and social responsibility are much more tangible within its framework than in the stone theater structure.
BHV: In 2022, you received an invitation from Itt és Most, a troupe that mainly deals with improvisational theater performances, to play the male roles in a traditional theater performance. How were you connected to improvisation before? How and when did you come into contact with Itt és Most Társulat?
IT: For me, the most obvious side of the connection to improvisation is the KB35 Társulat from Inarac, where we very often used the method in the creation of our performances. More than one of our performances was created using this technique (József Krisztina's Case, Real Chance, Trapped in Life, Tikk, P - or, scenes from the life of a traveling actor). from my age. Thank you for thinking of me for this assignment.
BHV: What were your first impressions of Imre Sarkadi: The Coward. about your short novel?
BT: I have a semi-diagnosed phenomenon where I often don't see the opportunity for a first reading in materials that I didn't choose... It happened the same way in this case, but since I'm somewhat aware of this disability, I didn't try so hard to overcome my doubts to give a voice, but I became more curious about what we get out of the dramatized, drawn-out text. During the rehearsals, analyses, and brainstorming, the deeper regions, recurring motifs, additional meanings, and symbols were revealed to me in their order and manner. Such are the motifs of the statue, the storm, and the speeding car, which all brought us closer to the question of courage versus cowardice, which originally concerned Nándi.
BHV: You play three characters in this show. These men, in different ways, are all under the influence of the central character, Éva, who is also in a dependent relationship with us. How are these figures similar and how are they different?
IT: In any case, they are similar in that they mutually maintain a dependency relationship towards each other. Being alone is not an option for any of the characters, either in the short or long term. They are lonely from one to the other, and they would do everything to fill the gaping void one way or another with the other. And the difference is perhaps that in a patriarchal society that is authoritarian, labels women, and forces them into narrow roles, the protagonist's realistic possibilities for independence and freedom are relativized, and we hope that they carry the possibility of discussion, which we intend to exploit.
BHV: As far as I know, this is your first joint acting work with your partner, Anna Janó, who portrays Éva, and you haven't worked with Nándi or Peti in this form before, so the premiere in October is special. What was the joint rehearsal process like?
IT: This could even be transparent, mandatory advertising text, but I don't really care, because in our case it felt right: It was like a knife in the butter! As if it wasn't the first time we worked together. Nándi was absolutely open to ideas and opinions, even waiting for us to throw them in. The material was adapted by quasi-equal co-creators, as is usual and natural for me in independent theater rehearsal processes. As it makes sense to do this in my opinion. I talked about this above. We also needed the trust and curiosity we showed towards each other, because time - as so many other times - was not unlimited, to put it mildly, at our disposal...
BHV: Every work that we spend quality time with has an impact on us. Dealing with interpretation and creation, I find that inner journeys mean more and more experiences of self-knowledge. What personal questions did The Coward - either the work or the rehearsal process - raise for you?
BT: Thank God, the material explores the issue of one of my favorite veszőparipams in a fairly followable and plastic way, but not categorically: the essence of freedom, the possibility of crossing one's borders on one's own. Balanced solitude vs. it focuses on the contrast of existence in the crossfire of continuous relationship systems, mostly through a love relationship, familiarly, yet not merely along clichés.
BHV: What is your favorite line from the show?
BT: "Now you have discouraged me with your criticism of the statue!"
A moment from the Here and Now Társulat "The Coward" performance. The picture shows Anna Janó and Tibor Boda.
The performance is a National cultural Fund was created with the support of
Ticket exchange: https://ittesmosttarsulat.jegy.hu/program/a-gyava-140294/883988
The permission of Imre Sarkadi's heirs was mediated by HOFRA Kft.
Thanks to Tibor Boda for the conversation.