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The SCOT-Suzuki Company's performance of The Trojan Women followed by an audience meeting to launch Tadashi Suzuki's book Culture is the Body, with the author. 

The organizers of the 10th Theatre Olympics are delighted to present a dialogue between Theodoros Terzopoulos and Tadashi Suzuki, founders of the Theatre Olympics. Moderated by Ted Motohashi, a member of the International Association of Theatre Critics and President of the Japan Section.
 

Attis Theatre's performance of A Doll’s House followed by an audience meeting to present Theodoros Terzopoulos' book The Return of Dionysus, with the author. Additional participants at the book launch include András Kozma (translator) and Zsolt Antal (Deputy Rector of the University of Theatre and Film Arts, the publisher of the book, and head of the Antal Németh Institute for Drama Theory).

I have been following the development of Attila Vidnyánszky’s stage language since 2002, when I first entered into a closer working relationship with him as the dramaturg of his first Bánk bán (The Viceroy Bánk) production.

Theatres are continuously looking for texts and topics, the hic et nunc relevant ways for expression. And probably this is the main reason why we turn to these great literary achievements because these days there are not many really significant new texts. Contemporary authors do not address theatre audiences in either a very shallow, lurid way or by contriving intellectual acrobatic stunts, they do not really reach the directors’ hearts. Meanwhile there are some miracle-works, which force a man to express himself, his environment, his feelings about life through them. There are no consciously thought-out, simple concepts through which these epic works attract attention, but they demand to be performed by their own power.

For the 200^th anniversary of the birth of playwright Imre Madách, the Hungarian Theatre Museum and Institute is bound to prepare a montage on fifteen screens, based mostly on the performance recordings, photographs and other documents in its collections.

We have chosen the ark as the symbol of the festive 10^th Theatre Olympics and within it, the 9^th Madách International Theatre Meeting, MITEM. To use the biblical parallel, we board the ark to save ourselves and our values.

In 2014, the Director of the National Theatre, Attila Vidnyánszky and his colleagues founded MITEM (Madách International Theatre Meeting) with the aim of putting Hungary on the international festival map. In 2023, MITEM will be both the organiser of the International Theatre Olympics and the central venue of its events. 

Ágnes Pálfi: Thinking back on the professional programmes as well as the entire festival, it is worth asking ourselves the question: were we, editors of Szcenárium, right in selecting the concepts of “Identity – Sacrality – Theatrality” to delineate the topic of the two professional days organised by the journal?

While this year’s MITEM was underway, one could see en route the Nemzeti (National) day by day how the stone carvers built the pedestal of the equestrian statue of Gyula Andrássy, the first minister of foreign affairs during the Austro-Hungarian Monarchy, on the concrete core which had been lying there lonely and undisturbed for months.