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Oscar-winning actress Juliette Binoche has had many public readings of Talking with Angels, and has mentioned in several interviews this book about four young people's questions and their quest for answers amidst the horrors of the world war. What does this Hungarian book mean for a French actor? Why has its underlying spirituality captured her? In what ways does it help the professional work of an actor and the daily life of a woman? Why does she think it's important to present the teachings of this work also in a theatrical setting? These are some of the questions Juliette Binoche addresses in the interview on her reading performance at MITEM The Matter of Light, based on the book Talking with Angels. 

The workshop aims to promote research in the sociology of theatre in Hungary. The proceedings of the workshop will be published in the journal Uránia in Hungarian and English.

The Symposium is organised around the Suzuki Company of Toga's (SCOT) theatrical work of nearly 50 years, with a particular emphasis on the Suzuki Method of Actor Training (SMAT), to investigate how and why the SCOT has created a universal standard for contemporary theatre, of which the Theatre Olympics is a manifest illustration.

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.