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This October the Hungarian National Theatre presents two performances with English subtitles, so that visitors and English-speaking residents of Budapest can follow the whole evening.

At the request of the author, Kate McBrearty, we are publishing the original English text containing the Irish passages, which was delivered at a conference dedicated to the theatres of national, linguistic and ethnic minorities on May 4, 2026, at the National Theatre, Budapest.

Since its establishment in 2014, MITEM (Madách International Theatre Meeting) has developed into a major platform for dialogue between theatrical traditions and aesthetic approaches. The 13th edition, held in Budapest from 10 April to 11 May, opened with Richard III by William Shakespeare, directed by István Albu (Harag György Company of the North Theatre, Satu Mare), and concluded with another production of Richard III, directed by Itay Tiran (Gesher Theatre, Tel Aviv–Jaffa).

Every year, MITEM in Hungary brings together international productions that combine classical and contemporary works, favouring experimentation with theatrical languages and unconventional perspectives on the present, subjecting today's world to analyses that are anything but comforting.

This article offers a critical dramaturgical reading of selected performances presented at the Madách International Theatre Meeting (MITEM) in Budapest. Rather than functioning as a conventional festival report, it approaches the programme as a field of aesthetic and political tensions in which contemporary European theatre negotiates questions of identity, embodiment, and representation.

Marx’s Capital was part of the 13th edition of the MITEM theatre festival (Madách International Theatre Meeting), which took place from April 10 to May 11. Since its founding in 2014, MITEM has established itself as a platform for dialogue between theatrical traditions and aesthetic approaches. This year’s festival opened with Shakespeare’s Richard III, directed by István Albu (Romania), and closed with another Richard III, directed by Itay Tiran (Israel). The concept “From Richard to Richard” was not merely a curatorial gesture, but also a reflection on today’s “Europe in a state of emergency.” The program included works by Sophocles, Molière, Voltaire, Gogol, and Chekhov, among others.

Sometimes absence speaks louder than presence. At the 13th MITEM International Theatre Festival 2026 in Budapest, Russia does not take center stage and is not listed as a separate category in the program. Yet a closer look reveals, beneath the surface, an entire map of connections: the Russian theatre school, Chekhovian dramaturgy, directing biographies, and artistic routes leading from Moscow, Yekaterinburg, Kazan, and Almetyevsk.

There was something almost suspiciously neat about the programming. MİTEM opened with Richard III and closed with Richard III. On paper, that sounds like a clever curatorial decision, maybe even an elegant one. But after Itay Tiran’s production for Gesher Theatre, the symmetry felt less decorative than unsettling. 

There are productions that do not so much tell a biography as listen to it and Sardar Tagirovsky’s Broken Melody, produced by the Almetyevsk Tatar State Drama Theater, belongs to that rare category. It is not a monument to a composer, and not an illustrated chapter of cultural history. It is a delicate attempt to hear a human being in the place where, at first, only a name, a score, family memory, and silence seem to remain.

Nina Plavanjac’s The Aquarium, produced by the Subotica National Theatre in Serbia and presented within the Hungary-Serbian Cultural Season at MİTEM, is a chamber work about inheritance – not the comfortable inheritance of houses, objects, or family names, but the more dangerous transmission of silence, fear, and emotional reflex.