Osiris Coverage (world première) creative performers: Tamás Bakó, László Czétényi, Kati Dombi, Bea Gold, Erzsi Kiss, Péter Lipka, Andrea Nagy, István Oldal, Orsolya Sipos, Lea Tolnai, Nina Umniakov, György Tr. Szabó set design: Ferenc Sebestyén, István Oldal lighting: Gábor Kocsis music: Erzsi Kiss musical coordinator: Balázs Temesvári costumes: Krisztina Berzsenyi video: Ernst Süss special stage props: Orsolya Sipos, Gábor Kocsis, István Oldal assistant: Ágnes Varanyi directed and choreographed by Gábor Goda Personal, poetic, mythic and absurd. Even as we speak, the children of Isis and Osiris cut up into fourteen pieces, keep re-evaluating history. What seems invulnerable from the outside is sick inside and will crumble in the end. An isolated and sterile world can not help rotting from the inside. A state of idyll is always mysterious in a frightening way. Profane rites, visual and musical phenomena. A theatre of actions.
Darvas – Pintér: Peasant’s Opera (world première) The bridegroom Béla Pintér His mother Szilvia Baranyi His father József Tóth His step sister Éva Enyedi The bride Sarolta Nagy-Abonyi Her mother Tünde Szalontai Her father Sándor Bencze Stationmaster Szabolcs Thúróczy The stranger Tamás Deák Musicians Benedek Darvas – harpsicord, Bence Gazda, László Nyíri, Gábor Pelva – violin, Samu Gryllus – violincello set design: Péter Horgas, Gábor Tamás costumes: Mari Benedek lighting: Gábor Tamás coach: Bea Palya assistant: Krisztina Kovács composer: Benedek Darvas written and directed by Béla Pintér "The Peasant’s Opera a treatment of a ballad-like story in the form of an opera. The music is based on a somewhat bizarre, still homogeneous mixture of Hungarian folk songs from Transylvania, baroque music and rock music. The plot may be familiar for many. According to my grandmother, it happened ages ago to people from Szabadszállás. Please forgive me if I don’t go into more details at this point, it should suffice to say that it will feature a few unhappy people, passion, a sense of humour, incest and murder.
First Hungarian Post-Dramatic Research Institute (Mozgó Ház Ex) No 16 473 An Endre Závoczki Requiem Near Dead Experience based on Ferenc Molnár’s Liliom (world première) Actors: Adrienn Bor, Réka Gévai, István Gőz, Erika Pereszlényi, Gábor Pintér, Balázs Vajna, Lívia Varjú "Entry No 16473". According to Ferenc Molnár, this is Endre Závoczki’s-
that is, Liliom’s-
registration number in the beyond.
Evenings of the Contemporary Dance Theatre Association In our achievement-oriented world it is an even greater task to establish a measurement system for Value. Taboos disappear, presumed or real truth is born and dies away by the minute, cunning epigones and obsessed modern spiritualists search for the true soul of our century and fumble through the foggy road leading to the Self, fossilised into technocracy. A multitude of 21st century Fausts set a rapid pace. The first confusing question is: what is value? Like it or not, the jurors will have to come up with an answer. In order to avoid unnecessary risks, they decided not to pass any judgement, but rather to introduce to a larger public young enthusiastic "theatre-makers" who, thus far, were only known by a narrower audience. Please receive them with an open mind and free spirit, and let yourself be enchanted." (Miklós Köllő) 20 October 8 p.m. OFF PROGRAMME L1 Táncművek 21 October 8 p.m. Merlin Színház choreographed and performed by Krisztián Gergye Zsófia Murányi – Gyula Francia: Alternative wishes choreography by Zsófia Murányi Márta Ladjánszki: Stretching Thighs choreography by Márta Ladjánszki (shared third prize winner of the 2nd Solo Dance Festival) Csongor Szabó: Monster choreographed and performed by Csongor Szabó Ákos Hargitai: Singing in the Rain (Again) choreographed and performed by Ákos Hargitai 22 October 8 p.m. Merlin Színház performed by Ádám Fejes, József Hámori, Nikoletta Jónás, Zizi Mészáros choreography by Ádám Fejes 23 October 8 p.m. OFF PROGRAMME Petrik Lajos Vegyipari Szakközépiskola choreography by Adrienn Hód (subsequent performances: 24–25 October)
István Tasnádi – Árpád Schilling: Fatherland, my all (hazámhazám) – Taigetos nursery II – in memoriam Géza Hofi (Hungarian première) Adults only Played by: Gergely Bánki, Eszter Csákányi, József Gyabronka, László Katona, Annamária Láng, Zoltán Mucsi, Zsolt Nagy, Borbála Péterfy, Roland Rába, Lilla Sárosdi, Péter Scherer, Sándor Terhes, Gábor Viola, Tilo Werner directed by Árpád Schilling The performance has undertaken the task of giving an overview of Hungary’s recent history following the political transition. It is not our aim to give an inventory of the events as they took place, or to present any presumed or real correlation, or to investigate the facts or uncover them; the performance merely plays with the facts, mixing reality with fiction to create from the ordinary a sovereign stage reality filled with elements of a fairy tale, viewing the past 13 years of Hungary and Eastern-Central Europe from a grotesque-satirical angle. We are not thinking in terms of a play, but rather a show, or even more precisely, events. This evening will be dedicated to national self-reflection with the help of the stage.
L’odeur du voisin performed by: Caroline de Cornière, Joseph Trefeli, Kylie Walters, Mike Winter, Asier Zabaleta "A man who eats alone in a restaurant takes in more than just the food." (G. Haldas) This is the second visit of the internationally acclaimed Alias Compagnie to Trafó, this time again they have brought their latest production here. The first part of the show received a local award at the Rencontres chorégraphiques internationales Festival in Seine-Saint-Denis in 2000. At the restaurant in L’odour du voisin reality has two planes. Using different atmospheres which arise from the interplay between characters, morsels of daily life are kidnapped by the strange and unusual. The images close around certain characters: a ‘close-up’ of constrained promiscuity. Another reality is created by the incessant come and go, the play between distance and proximity – by that slight shift which tips reality into something strange but familiar.
Emma Rice: Wild Bride or The Handless Woman (world première) Performed by: Jon Fenner, Éva Magyar, Borbála Blaskó, Réka Szabó, Gábor Botond BarnaBR Sets &Visual effects: Bill Mithcell directed by Emma Rice Emma Rice and Bill Mitchell – leaders of Kneehigh, a British dance theatre, have chosen a best seller, a collection of folk legends from around the world, as the vantagepoint for their ensuing work. It is a very powerful visual tale of the encounter between the Devil and a woman and their interaction with the surrounding world. The story is about an unfortunate young girl who is sold unawares to the Devil by her parents and how she manages to embrace her destiny and maintain her human courage, while her quiet determination tames and turns the negative powers over to her side. What makes this execution unique is the collaboration of the two creative teams, with their very different cultural inheritance, trying to solve and communicate centuries old ideas and relating them to European behaviour norms.
Journal d’un inconnu Music : Percussion of Ethiopia, Sakata and Halottkísérö (Bethlen, Észak, Mezöség) (excerpt from Csík Zenekar and Tiszta Szívvel); Son Sventa Cajvaltic (excerpt from Mexico, Fiestas of Chiapas and Oaxaca); Portofélé (excerpt from Cigány Folklór, Magyarország / Románia) Scenography: Josef Nadj and Rémi Nicolas Lighting: Rémi Nicolas assisted by Xavier Lazarini Costumes: Bjanka Ursulov Set design: Michel Tardif Paintings: Jacqueline Bosson Video: Thierry Thibaudeau Technical Manager and Lighting: Xavier Lazarini Video and Sound Manager: Thierry Thibaudeau Stage Master: Valéry Franch Tour organiser: Martine Dionisio based on Nadj’s own diary and poems by Ottó Tolnai choreography by Josef Nadj
Josef Nadj and his company’s latest work, Vigilants, also shown during the Budapest Spring Festival this year, can be looked upon as a concluding piece of an artistic period. The attention of this innovative choreographer, tireless in building his own unique artistic tools, has turned towards new directions. What preoccupies Nadj currently is well reflected in his most recent work, the Journal d’un inconnu, a very personal solo performance marking the beginning of a new creative phase in his life. The show premièred at the Biennale of Venice on June 6, 2002.
Pictographs (world première) performed by: Veronika Vámos, Gerzson Péter Kovács "The cultures of several thousand years build up on the individual and his imprints, useful, valuable and comprehensible for the community, one who has created the world through a creative act, and presented and preserved himself and his universe, while religions, demagogue ideologies, self-interested cynics, "rational" civilisations regulate, annihilate, kill, poison the free, creative Human Being. But – in spite of these evil efforts -
he leaves his imprint on the walls of the caves and sends his message through the millennia: "Here I am, I have just changed the world". The new TranzDanz piece is an imprint of thought taking refuge in caves and reserves in an attempt to escape from the ordinary and "practical"; it is a present-day pictograph/cartoon.
Kaash performed by: Akram Khan, Rachel Krische, Moya Michael, Inn Pang Ooi, Shanel Winlock Hindu goods, black holes, Indian time cycles, creation and destruction constitute the key concepts of the show to be presented this year. "It is vital that we recall the value of the intangible. Is it not true that it is the emptiness of a mug that makes it useful? Similarly, the mystery of true forms lies in the stillness between two steps, the pause in music, or in hollow cosmical space." – writes Akram Khan, who combines classical Indian dance with contemporary Western traditions.
Contemporary Folk Dance Evening Once again this year, at the traditionally held programme of the Budapest Autumn Festival, we may see the experimental combining of the very traditional with the contemporary. In the programme many different types of ideas and tradition interpretations are given presentation, each different from one another: the audience may see the best of the past season, in accordance with the wide spectrum of the Contemporary Folk Dance Evenings seen over the past decade, each individual and colourful in its own way.
András Visky: Júlia dialogue about love (world première) performed by: Enikő Szilágyi directed by: Gábor Tompa
"Ten performances may be seen in the programme of the 7th annual Studio Theatre Days. The productions taking part in this festival are those which were supported by the Soros Foundation and were decided as the best performances by the curators. The ten performances present the most important tendencies of artistic experimentation going on presently in Hungarian experimental/alternative theatre workshops. Four dance theatre performances, two Budapest and two provincial studio-type theatre performances are included, as well as the most noteworthy alternative production of the past year; the Krétakör Theatre’s production entitled W – Workers’ Circus is a performance that caused many professional debates. In addition to these productions, there is also an Ionesco adaptation in Roma language, which was made possible with the help of the Roma Parliament. These professionally and artistically quality performances promise audiences interested in theatre specialities many performances that are interesting and full of content." (István Nánay)
Bárka Theatre Harold Pinter: The Homecoming directed by László Bérczes www.barka.hu
The Collective of Natural Disasters 62 Days death-travelogue designed, composed and directed by György Árvai www.trafo.hu/arvaigy.html
Petőfi Theatre Veszprém August Strindberg: The Pelican directed by Anca Bradu www.petofiszinhaz.hu/
Central Europe Dance Theatre – Móricz Zsigmond Theatre Nyíregyháza Barbarians directed and choreographed by Csaba Horváth www.cedt.hu/ www.moriczszinhaz.hu/
Budapest Chamber Theatre William Shakespeare: Macbeth directed by Róbert Alföldi www.budapestikamaraszinhaz.hu/
Compagnie Pál Frenák KáOsz choreography by Pál Frenák www.ciefrenak.org/
KOMPmÁNIA / Attila Csabai Company Cyber Geishas (Gertrude and Alice's Adventures in Wonderland) choreography by Attila Csabai
Maladype – Theatre of Encounters Eugène Ionesco: Jacques or the Submission directed by Zoltán Balázs www.szinhaz.hu/maladype/
Krétakör Theatre W – Workers’ Circus directed by Árpád Schilling www.kreatkor.hu
Awards ceremony and closing discussions For more information see the programme of the Studio Theatre Days. 
Hungarian Opera of Kolozsvár/Cluj Attila Demény: Parafarm chamber-opera libretto by: András Visky (based on George Orwell’s book Animal Farm) Napoleon Bálint Szabó Snowball Levente Szakács Clover Zsejke Székely Molly Zsófia Popovici Boxer Zsolt Dániel Benjamin V. Róbert Laczkó Two dogs László Veress, Árpád Sándor Sheep Ildikó Sz. Veress, Enikő Pataki, Ildikó Páll Set design Judit Dobre-Kóthay Costume design Katalin Starmüller Director’s assistant Annamária Gombár Conducted by Katalin G. Incze Directed by Attila Demény "Parafarm is a surrealist vision, which looks towards Orwell’s novel as much as it looks away from it. It can happen to anyone, anywhere. As a genre, it is a combination of the chamber opera and a dance theatre. I wished to show the possible hypostasis of power in this sketchy but easily comprehended story." (Attila Demény) Attila Demény: Unfinished Conjugation "There are many reasons why I wrote this piece and why I chose to première it together with my chamber opera Parafarm ten years ago. I look for the link between my two operas after ten years, I’m looking for myself in the history of ten years, at the new turn of the century, in its conflict of values, in its code switch. It came about that I had to write about the repetitions, the monomania, and the provocation of grotesque unsuccessfulness at the beginning of this strange eastern-central European century. This is why, after I wrote Parafarm, I write Unfinished Conjugation without using names or parts, only situations or events. It seemed that perhaps the genre of singing-pantomime is the most fitting to these feelings." (Attila Demény)
Chamber opera for singers, instruments, speakers and puppets, based on Tibor Déry’s play (world première) singers: "I have no problems. I am immortal. Life is obedient to me, because I am the beginning..." The Giant Baby who, from the moment of birth could walk, talk, and understand everything, who was sold by his father, who believes himself to be the master of life and death, who was already displayed in the circus when he was only a few hours old, who kills out of fun, is just as innocent and naïve as any other baby. Or is he? For he knows that, "there is nothing more beautiful when you feel hungry and you are left unsatiated, when you are cold and have no blanket, when you are ill and cannot get well". If everyone is satisfied with his or her own Paradise. By the time his time runs out - over the course of three short acts - he must understand that no one lives on this earth free of its consequences, no one can live and die for free... all one can do is ask the question: "What was the meaning of my life? And I ask, what was the meaning of my death?" (supported by the National Culture Fund) www.budapest-babszinhaz.hu www.bmc.hu/vajda 
An Evening with the Composer; Introducing Béla Faragó The Faces of Light CD première performers: Katalin Pitti and the members of the Voces Aequales Choral Ensemble (Zoltán Gavodi, Csaba Gyulai, Zoltán Mizsei), also: Gergő Balázs – violin, Samu Gryllus – bass guitar, János Nagy – synthesisers sound engineer: István Horváth space installation: Sándor Sárkány The Faces of Light – Béla Faragó’s third CD of compositions -
will be out in autumn of 2002
 Concert of the After Crying Group and the Brass in the Five Quintet As a result of the many-faceted role the brass ensemble has played in various musical ages and areas, it is especially qualified to present the links and passages that can illustrate our divided musical culture in a different way than "accepted" musical styles and forms. The Brass in the Five Quintet is highly qualified, with their musical past and experience, to take part in this game, while the performers of the After Crying group (who are also the composers of the concert) regularly take part in similar experimental performances. www.aftercrying.com www.brass5.hu
Works by György Kurtág Messages – for orchestra Op. 34 (1991–1996) Letter to Péter Eötvös Aus der Ferne – Hommage à Alfred Schlee 85 ... a solemn air ... – Hommage à Albert Simon 70 Progress Report - a word with Zoltán Jeney Inscription on a Grave in Cornwall – Hommage à Sabine Tomek Flowers we are... – to Zoltán Kocsis (...in memoriam Otto Kocsis...) Splinters Op. 6/c – for cimbalom New Messages – for orchestra Op. 34/a (1998–2000)* Merran’s dream (Caliban detecting - rebuilding Mirranda’s dream) Shadows – Message à Elmar Weingarten ... aus tiefer Not ... – un message à Madeleine Santchi Les adieux – in Janáčeks Manier (In memoriam Egon von Westerholt) Message to Zoltán Peskó Merran’s dream (Caliban detecting - rebuilding Mirranda’s dream) – string instrument version Pieces from Games, solo and cello works from the series Signs, Games and Messages for strings Preface to a Bálint Exhibition for piano Doina for piano The Faith (from The Sayings of Péter Bornemisza Op. 7) for violincello Les adieux in Janáčeks Manier for piano Signs Op. 5b I (Agitato) – II (Giusto) for cello Pilinszky János: Gérard de Nerval for cello Play with overtones for piano Hommage à J. S. B. (from the 12 new mikrolúdium) for piano Stop and Go for piano Kroó György in memoriam for cello Shadows for cello Hommage à Paganini for piano Tears for piano Studie zu Hölderlin for piano Shadows for cello and upright piano Grabstein für Stephan Op. 15/c (1978–1979, rev. 1989) for solo guitar and divided instument groups * Hungarian première performers: Elena Casoli – guitar, Ildikó Vékony – cimbalom, Gábor Csalog – piano, Miklós Perényi – cello, the Choir of the Hungarian Radio (conducter: Kálmán Strausz) "The works of György Kurtág could often be heard in the past decade in the frame of »composed concert programmes«. The main idea of this is that the composer may arrange the programmes in such a way that the connections between the compositions can be heard by the audience. Tonight’s programme contains selections that seem to be unusually paired; in this way, for example, chamber pieces are set next to works that require a more large-scale ensemble. Among his earliest pieces is the cimbalom cycle made up of four movements entitled Splinters, which alludes to János Pilinszky’s volume of poetry. Its last movement, this mourning music inspired by folk mourning songs is dedicated to the memory of the composer's friend from youth, the violinist Stefan Romascanu. This piece is a kind of introduction to many other works of the concert, as in memoriam and homage pieces were always an important part of the composer’s works. However, there is another connection between Splinters and Grabstein für Stephan written between 1988 and 1989: both were originally written for guitar. In the former, the guitar was changed to cimbalom, while in the latter, the main role of the guitar was preserved while it was imbedded as a solo instrument in an orchestra. For a long time, the orchestra was a foreign medium for Kurtág. At the turn of the 1980s and 1990s, Kurtág tried to grasp larger ensembles by arranging the orchestra into smaller groups and setting them at various points of the auditorium. In the example of the Grabstein, the chords of the guitar echo throughout the room in the frame of the piece, while in the middle section, the anger towards mortality is expressed with a spine-chilling howl. Kurtág’s piece Stele, written in 1994, may be seen as his first real orchestral piece. Parallel to this piece, Kurtág began writing short pieces for instrumental ensembles of various sizes, which later became a series under the name of Messages. The pieces of this series - just like those in his new series entitled New Messages, sounding for the first time in Hungary - are dedicated to close friends: they are words of understanding, caution and sympathy. These orchestral cycles are relatives of the Plays and Games group, which contains piano pieces, and the collection of pieces written for string and wind instruments called Signs, Games and Messages. A selection of these pieces may also be heard tonight." (Péter Halász) (supported by the National Culture Fund) www.bmc.hu/kurtag/index2_en.htm
UMZE Ensemble and their guests György Kurtág, Jr.: The Hollow of the Deep Sea Wave (Hungarian première) the composer – synthesisers Lukas Ligeti: Independence (Hungarian première) Amadinda Percussion Group Miklós Perényi: Ritornello per 21 (World première) UMZE Ensemble Péter Eötvös: Intervalles-Intérieurs György Déri – cello, Aurél Holló – percussion, Csaba Klenyán – tombone, Anna Mérei – violin, Michael Svoboda – trombone József Pálfi – sound technician conducted by: Péter Eötvös "The composition by György Kurtág Jr. (b.1954) was commissioned by the Vienna Festival; its title alludes to Hokusai’s famous painting. Perhaps it is misleading to speak of a composition, since the composer-performer plays the basic schemes present in his mind differently each time on several synthesisers. According to the composer, the piece is improvisation, which contains elements of written pieces. At the same time, the improvisation is directed by a few simple basic principles: setting the sharpest contrasts against each other, equalised by the effort to balance these contrasts. The composer is playing a game with himself as well as with his audience: he listens to his own music so he can continue by reacting to what has already been played, and he also watches the audience to incorporate their reactions into the improvisation. Lukas Ligeti (b.1965) studied composition and jazz-percussion in his hometown of Vienna and later attended Stanford University where he researched computer music. He has been living in New York since 1998 and often visits the Ivory Coast where he studies the music of the drummers native to the country. The main idea of the piece entitled Independence, also commissioned by the Vienna Festival, is the balance between the independence and togetherness of the four percussion players. The piece becomes flexible through the constant movement of the strict metric frame alternating between fast and slow. One can hear the stepping change between definite- and indefinite-pitch instruments, the instruments made of leather, metal and other materials. One may also hear how the ideas of individual players soon take over the entire group. This is a metaphor of how the actions of free will of an individual can affect a whole community. The composition entitled Ritornello written in 1998 by Miklós Perényi (b. 1948) is a one-movement piece for 21 instruments: wind and brass, string and percussion instruments. The title alludes to the repetition of certain thematic sections, since the piece returns again and again to a few set points, mapping the network of relationships developing between them. Diverse and meticulous instrumentation has an especially important role. Various accompanying instruments sketch the shadows of the solo instruments (clarinet, trumpet, xylophone, marimba), and in this way the sound of the ensemble becomes a body whose plastic characteristics we see in ever changing light. In the oeuvre of Péter Eötvös (b.1944) the compositions often exist in many different types of forms, relative to one another. The basic material of Intervalles-Intérieurs written in 1981 is the recorded music of two electronic organs of the piece called Electrochronic written seven years earlier. The work Electrochronic looks back at musical experiments in which the characteristics of interference between intervals are studied. Intervalles-Intérieurs complements this with traditional instruments, which lead us to "the inside of intervals", showing the melodies and rhythms hidden between the frequency differences." (Péter Halász)
Solitude The Childrens Chorus of the Hungarian Radio (director: Gabriella Thész) Kosmos Gábor Eckhardt, Péter Nagy – piano Tale voice recording, József Pálfi – sound technician Psalm 151 – in memoriam Frank Zappa Zoltán Rácz – percussion Two Poems to Polly György Déri – cello Dervish Dance Csaba Klenyán, Lajos Rozmán, Gergely Vajda – clarinet " »All the world’s a stage, and all the men and women merely players . . .« The works of Péter Eötvös give a unique paraphrase to this Shakespeare quotation. Each of his compositions is a play and each sound and gesture is an actor in it. The performer must become a comedian, an orator or a dancer for the sake of the proper interpretation of the piece, sometimes speaking and or doing pantomime accompany the musical performance. The diversity in genre of his stage works is astounding: as if he were searching for a new form of dramatic expression in each of his new works. If he works with texts, he plunges to the depths of the melody and rhythm of language, excavating the raw material of music from it. He always uses a new method with the effects of text and music on one another, as if he were trying to map all the possibilities with encyclopaedic quality. Even those works, which are »clearly« instrumental, without any events, texts or scenes, are still somehow like plays or films. He admits, »I would like it if the same sort of vision would materialise in front of the audience while having an acoustic experience as if they were sitting in a theatre. Making sights be heard and sounds be seen is a miraculous idea for me.« He constantly traverses »forbidden« boundaries between genres and branches of art as well. It is as if he were trying to rebuild an archaic, grand unity within himself. Perhaps this is the reason why he could not chose between performing arts and creative arts and why he volunteers to work in both areas. Looking over the span of his oeuvre and the knowledge with which he conducts it, one gets the impression that Eötvös is not only the protagonist, but also the screenplay author and director of the play of his own life. Some say that drama lives its golden age when a culture is in a predicament, when it is living in a stormy, transition-phase of man’s history. Could this be the reason why the composer’s unfailing instincts lead him to theatre time and time again? Is this why all of his pieces seem so modern? One thing is for sure: Péter Eötvös plays a leading role on the world stage of the 21st century music." (Zoltán Farkas)
Lux Nox ensemble on the occasion of the new CD presented by BMC Records György Kurtág, Jr. – digital synthesiser, Chris Martineau – viola and voice, Isabelle Cirla – bass clarinet and soprano saxophone, Roland Ossart – melisson (analog, modular /custom made/ synthesiser) The four members of this musician/composer ensemble create wholly improvised music, stepping over all previously known experiences and effects. Their music is not a communion between jazz, contemporary music, electro-acoustic techniques, or musical theatre, but rather a rebirth of these. Their exquisitely original and sensual music is born in a fraction of a second in the flow of time. This is music that lives in extremes: it combines flowing richness with fleeting sighs, the poetry of wide sound spaces with sound-lace sewn on the borders of silence, and speaks the language of mutual trust. Sometimes it erupts suddenly, then it is densely woven, incorporating the attention of the listener with its pulse. For this to come about we must join with the web of mutual attention which connects the players and must get to know the richness of their sound palette, the mixture of traditional instruments with voice, analogue and digital synthesisers, flowing in and out of one another, sometimes difficult to differentiate. We must listen and pay attention with the same kind of concentration and depth as a native in the jungle listening to the sounds of wild beasts in fear for his life.
Concert of the Amadinda Percussion Group In memoriam Iannis Xenakis Iannis Xenakis: Peaux Michael Askill: Spirals (World première) Iannis Xenakis: Okho (Hungarian Première) Iannis Xenakis: Psappha Georg Katzer: Schlagmusik 2 Fredrik Andersson: The Loneliness of Santa Claus (Hungarian première) Váczi Zoltán: Asztali zene – beFORe JOHN8 (World premeiere) guest performers: Szabolcs Joó, Gábor Pusztai – percussion Last February, Iannis Xenakis, a classic composer of the 20th century passed away. His life’s work, which includes mathematics and architecture in addition to music, cannot be overlooked, no matter what his critics might say. Percussion music has especially much to thank him. After he wrote Persephassa in 1969 -
which audiences had a chance to hear at the Budapest Autumn Festival a few years ago -
he composed a dozen pieces for all variations of percussion instruments from solo to the sextet, often combining percussion with other instruments or voice. At this concert we wish to present his works written for percussion only in all its colour, characteristic of Xenakis. 
Dr. Konrad and his jazz band (Germany) The professor of the Stuttgart College of Music’s Jazz and Popular Music faculty is the musical director of the Südpool-Quartett, financed by the province. The best musicians of Baden-Württemberg have played in this group, which was founded in 1989 and plays experimental avant-garde jazz. Bernd Konrad’s most famous fan is probably Woody Allen: in the actor-director’s film called Hannah and Her Sisters, the album Dream Dancers plays an important role. After receiving awards from Japan and the United States, Konrad received the German Confederate Cross of Distinction. (an event of the Baden-Württemberg Days; made possible with the help of Hungarofest)
Győrfree Workshop festival (see Győrfree)
doors open at 9 p.m. concert begins at 10 p.m. The Sziámi Musical Ensemble and the Habitués of the World Coffee Shop together with the Films, videos, atmosphere, cocktails, artists, pimps and prositutes from the ‘30s and the future. After the Saturday suicidal hymns comes a cheerful danse macabre, forgeting all your woes till Sunday morning.
Tibor Szemző and the Giordian Knot cinematographic concert invisble story (see Bolygó Hollandok )
Spiritus Noister – Kurt Schwitters: Őshangszonáta (see Literature)
Cökxpôn Ambient Fesztival (see Cökxpôn)
Kálmán Balogh Gipsy Cimbalom Band (see Mediawave) Programmes of Darshan Udvar
Jackie Orszáczky & Friends (Australia) Jackie Orszáczky & Friends play the music of Frank Zappa
John Scofield Band (USA) überjam record-première concert 
international exhibition, symposium, screenings, net projects and publications opening: 18 October 5 p.m. The Budapest Autumn Fesztival is opened by: Gábor Demszky Mayor of Budapest Vision – Image and Perception, the exhibition organised as the opening event of the Budapest Autumn Festival by the C3 Foundation and the Műcsarnok/Kunsthalle Budapest, aims to present the active process of human vision as approachable through historical, cultural, technical and neurobiological methods, with the aid of artworks, demonstration charts and apparatus, as well as the potentials of interactive multimedia. In the present case, similarly to our previous exhibitions achieved with great success, The Butterfly Effect and Perspective, our aim is to establish a comprehensive, scientific and technological historical context, through the organisation of lectures and the screening series, as well as the production of various publications, in connection with the show.
Image and the Brain scientific symposium "The wise man’s eyes are in his head." (Ecc. 2.14) Symposium Lecturers: Vilayanur S. Ramachandran (University of California, San Diego), Melvyn A. Goodale (University of Western Ontario, Canada), Nicholas Wade (University of Dundee, Scotland), Jean-Pierre Changeux (Collège de France; Institut Pasteur, Párizs), Richard Gregory (Downing College, Cambridge), Siegfried Zielinski (Kunsthochschule für Medien, Cologne), Peter Weibel (ZKM, Karlsruhe), Jaroslav Andel (New York), David Melcher (Università Vita-Salute San Raffaele, Milano), Ilona Kovács (BME, Budapest / Rutgers University, New Jersey, USA), Gyula Kovács (BME, Budapest), Zoltán Vidnyánszky (MTA TKI, Budapest), Balázs Gulyás (Karolinska Institut, Stockholm) Symposium on the connections between the visual arts and brain research. With the lectures given, the various representatives of the fields of science and art, the artists and researchers, gain the opportunity to become acquainted with the viewpoints of one another, and to examine the common and divergent areas between them, a sphere of interest not only for the professional audience. Film-Eye – screening series throughout the period of the exhibition
Evergreen Doubts
Artpool Art Reasearch Center presents the texts of 28 poets, philosophers and orators exhibited in advertisement-like typography. The validity of their words span over 2,500 years and deal with the subjects of art, science and politics. http://www.artpool.hu/ketseg/tabla/kiallitas.html
exhibition of young Austrian architects finissage, professional convention curator of the exhibition: Otto Kapfinger Hungarian curators of the exhibition: Márta Branczik, Zsolt Gunther the exhibition is open from 13 September – 20 October As a closing of the exhibition open for one month, a convention will be held with discussions and presentations about characteristic buildings planned by architectural companies, explaining the designing and building of these. One of the most prestigious contemporary centres of architecture in central Europe, the Architektur Zentrum Wien, began an exhibition series spanning the course of several years, in which they would like to introduce the newest talents in Austrian architecture. On exhibit is the work of those young architects who represent the most modern trends and whose future works will be determining elements in Austrian architecture. This new style is a minimalist form of architecture, which works with few forms and noble materials to create elegant and large spaces, inside and outside of buildings. The first exhibit of this could be seen in Budapest in September 2001.
C3 Open House In Focus: The ZKM* *Zentrum für Kunst und Medientechnologie – Karlsruhe 6 p.m. C3 auditórium The renowned artist, curator and art and media theoretician standing at the fore of the ZKM (Karlsruhe, D) since 1999 expounds his thoughts – in connection with the large-scale interdisciplinary exhibition at the ZKM – as to the role played in the modern world in the course of scientific, artistic and religious representation of the image. Is this type of employment even legitimate? What is the essence of the destruction and the adoration of the image? The lecture engages with the research programme begun last year by C3, entitled Image and Perception. Peter Weibel will also introduce the institution under his direction and speak about its upcoming programmes and projects. 7 p.m. C3 auditórium Gábor Bódy, investigating filmic language and the experimental paths of film production, achieved his first international success in Baden-Württemberg: in 1976, his diploma film, entitled American Torso, won the first prize of the Mannheim Film Festival. When the director was given the chance in 1980 at the Hungarian Film Factory (MAFILM) to establish an experimental section, another cinematographic periodical publication was born: the idea for Infermental. The international periodical, gathering earlier experimental work and providing a forum for newer works, focused on research of media and articulation, as well as the new functions of filmic language. Its lexicon section stimulated the dispatch of previously unknown filmic compositions. The first edition of Infermental was realised twenty years ago, in 1982; following the death of Bódy, the complete material of the video-periodical was placed in the collection of the ZKM. Until now, the entire edition has not yet been accessible in Hungary; from this occasion on, however, the complete archive will be researchable at C3. 7.30 p.m. C3 Galéria Between 1994 and 1999, the ZKM compiled the prominent interactive, media art compositions of the era, in an unique form. Artintact, as a book and CD-ROM combination, primarily concentrated on those works that were realised within the framework of the ZKM residency programme, during the second half of the 90’s. The German media institute has this year published the bilingual complete edition of the "virtual museum" of Artintact in the form of a DVD-ROM. www.c3.hu/events/2002/nyiltnap2002
opening: 22 October 6 p.m. The first Hungarian exhibition of Daniel Spoerri (b. 1930, Galaţi – Romania) -
the assemblage and ready-made master living in Switzerland -
at the Budapest Autumn Festival promises to be a real artistic attraction. Spoerri, who was originally known as a dancer and a thespian, became the leader of the 1960s fluxus flow called Eat-ART. The exhibition is a selection of those years as well as the later series entitled Trap Pictures. The newest menus of the legendary restaurant and food designer, under the name of Les Menus-pièges, could be enjoyed by the visitors of the Parisian Jeu de Paume. The artist will appear at the opening of the exhibit.
Budapest welcomes "attitudes" from Geneva In 1994, two art historians founded one of the most prominent institutions of the Swiss art scene. Attitudes, based in Geneva is a gallery and studio complex. Not only does it organise contemporary art exhibits, but also colloquiums, book premières and discussion evenings. Working together with Attitudes, possibilities have opened for young Hungarian artists to have an outlook and experience abroad, since one of the main goals of Attitudes is to establish an international network of independent artistic institutes. At this exposition in Budapest, three contemporary Swiss exhibitions may be seen as a part of the joint Swiss-Hungarian programme series of Attitudes, the Union of Young Hungarian Artists Studio, and Trafó. 22 October – 22 November Stúdió Galéria
opening: 22 October 6 p.m. curator: Judit Pálfi (Stúdió Galéria) participants: Jérémie Gindre, Tibor Gtenis, Endre Koronczi, Attila Menesi the opening of the joint exposition and programme series of the Union of Young Hungarian Artists Studio, Trafó and Attitudes from Geneva 22 October – 22 January 2003. Lövölde tér
23 October – 22 November Trafó Galéria Pierre Vadi is working on the plans of a "night" installation that will envelop the entire space of the Trafó in darkness while also re-forming it. The walls, labyrinths, light sources and the paintings done on maps, characteristic of Vadi, are similarly complex to the set of a play or a film, full of geopolitical implications; they present the viewer with a unique world full of the details of a mysterious and ominous story. Following the opening of the exhibition, a performance of Loopmatic of Geneva (Caroline Suard and Stéphane Détruche) will begin in the main auditorium of Trafó. The two video artists from Switzerland project their own as well as "found" films simultaneously with about eight projectors onto huge canvases. To complement the visual work of art we asked Hungarian DJs to perform; their music and the never ending, simultaneous pictures of Loopmatic combine to form a dynamic and spectacular audio-visual party-experience.
Parallel Realities (5+1=2) opening: 24 November 6 p.m. The Artpool P60 will house an international exhibition-event looking back on 40 years (1962-2002) of the fluxus movement on the theme of "5+1": doubt/dualism – scepticism/dubiety – symmetries – dissymmetry/violating symmetry – paradox/paranormal phenomena. The project, in the real – as well as in the virtual (internet) – exhibition space, is to assemble a holistic worldview from the concepts that exist independently and yet inform each other.
opening: 24 October 5 p.m. One of the favourite "techniques" of Sándor Pinczehelyi is to exhibit his freshest works of art next to his earlier ones from 1970–1980. He looks to see how they get along with one another, if they can find something in common. We have seen many other artists do the same in the past few years. At the same time, we may be witnesses to an important change in theme, since the older, emblematic graphic art, pictures and new works about every-day themes and personal experiences share a lively dialogue. Pinczehelyi is not choosy with his mediums and uses everything from photos to installations and all sorts of techniques to help him say what he wants to say. "It sometimes seems frivolous, but the relationship between the artist and his often repeated picture objects contains elements of humour and self-irony." (György Várkonyi)
Exhibition of the Modern Ethnic design group Transylvanian Impressions opening: 24 october 5 p.m. The Modern Ethnic design group was asked by the County Salon Fund for Transylvanian Art to present modern dress inspired by Transylvania. Transylvanian folk art has an age-old tradition of proportions; romantic, passionate, and throbbing rhythms in its lines; dampened colour harmonies, cheerful humanity and true professional knowledge are the characteristics of the work of the group.
Promenade 1. A series of discussions on aesthetics and the philosophy of arts led by Lóránd Hegyi will be held in various big cities all over Europe. The art historian and museum director chose the Secco Gallery of Budapest as his first stop. Lóránd Hegyi’s discussion partners: Pierre Restany art historian and the editor-in-chief of the journal DOMUS, Bertrand Lavier French artist, Iván Bojár art historian and editor-in-chief of the journal OKTOGON, László Márton, writer, Károly Kelemen, painter Artist exhibiting by ivitation: Károly Kelemen
The Makarius Collection opening: 29 October 6 p.m. the exhibition may be visited on Friday 2-6 p.m. and Saturday 11-5 p.m. At the European School exhibit the works of the following artists may be seen, never before in Hungary: Margit Anna, Imre Ámos, Endre Bálint, Jenő Barcsay, Tihamér Gyarmathy, Dezső Korniss, Tamás Lossonczy, Ferenc Martyn, Endre Rozsda, and Piroska Szántó. 
Time travels in Budapest Subjective Sight-seeing Tours by Hungarian film makers tours depart from the parking lot located at Műcsarnok Langauge of the guided tours: Hungarian október 19. András Salamon and Ágnes Incze
Once again we board the bus to journey on the uncharted frontiers of the Dunapolis. This time our tour guides are not writers but film directors, cinematographers and their guests. After the artists of the written word, this time the dreamers of pictures teach us to look at familiar streets from a new angle. It is their personal experiences that breathe life into the boring, dusty walls of buildings we hardly see anymore. Budapest – through different eyes...
Iconostasis II. latest pieces of the series on Hungarian history of theology by Orsolya Székely "Faith is a secret. [...] Our history has not yet been viewed from the point of individual faith. Because of their impatience, religions - which give form to faith - have not yet provided this opportunity." (Orsolya Székely) 23 October 6 p.m. Convict Preachers (directed by Ferenc Grunwalsky)
Czech, Polish and Slovakian films (see: Bohemia V4)
The Budapest Film Presents Golden City cinematography: Gábor Marosi This film is about a schizophrenic prostitute and a motorcycle cop. It’s difficult to get into the Golden City.
Czech and Polish films (see: Bohemia V4)
Films from Holland (see: Bolygó Hollandok Literary Festival)
AKTion Photo Exhibition of FAV* – MEDIAWAVE From the pictures of the Intenational Photo and Film Camp * Fundatia Arte Vizuale, Bucharest 2 November 7 p.m. Phil Mullroy – films of the Master of morbid animation on DVD 3 November 7 p.m. Best of Mediawave 2002
Escape to Short Films 5. French-Hungarian Short Film Festival From the French Clermont-Ferrand International Festival’s prize-winning films and Hungarian short films organised by Banán klub 
Ed Goes Ahead Festival of Hungarian Scats (see a diminished EDE festival)
departure: Jászai Mari square 3 p.m., 4 p.m., 5 p.m., Boráros square 3.20 p.m., 4.20 p.m., 5 .20 p.m. Budapest Public Transport tickets are accepted. Entrance at every stop In Hungarian Space is limited, arrive early! On 26 October 2002, the Belletrists Union will board the No.2 tram. Everyone is invited who is interested in literature, and who would like to talk or ask questions. On board there will be music, interviews, poems, one-minute stories, free discussion, as well as signing of old and new books. Everyone bring with them whatever they want signed. Waiting for us at the end stop at Margaret Bridge will be drinks and snacks, and there will be a bookstand as well. Come along so we can enjoy together one of the most beautiful cities in the world in good company, wide-screen and technicolor, rumbling along on our favourite means of public transport!
Bolygó Hollandok Literature Festival (see: Bolygó Hollandok)
The Ursonate for two voices and musical environment (Hungarian première and record preview) performed by: Katalin Ladik – voice, Endre Szkárosi – voice, Zsolt Kovács – guitar, objects, Zsolt Sőrés – violin, objects The Hungarian group of internationally renowned poets and sound artists has been working together since 1994 under the name of Spiritus Noister. In their new works their goal is the poetic and musical reassessment of the basic works of the historical avant-garde. This time they have reworked Kurt Schwitters’s composition entitled Sonate in Urlauten. Schwitters is one of the most highly regarded avant-garde artists. His Sonate in Urlauten is one of the basic poetic works of the century; Schwitters worked on it for ten years between 1922 and 1932. The final recording of the piece was done by the artist himself in 1932. The basic characteristic of the Ur-Sonate is the strict engineered precision of the fitting together of musical grand-scale and Dadaist language invention. The text of the piece is built upon only voice (phonemes) and phoneme groups. By putting forth the progressive text material and the system of unique repetitions, the composer builds a complex and straightforward structure with exact musical instructions. In the last third of the 20th century, many artists (like Giuliano Zozi, Eberhard Blum, and Jaap Blonk, for example) thought it important to rework the Ur-Sonate, but until now the interpreters always kept with the purist, vocal interpretation of the original text. What is new about this undertaking of the Spiritus Noister group is that it breaks with the declamation and monologue interpretation of the piece. The artist-performers rethink the Ur-Sonate’s modern meaning in a complex musical space and while keeping faithfully with the letter and spirit of the work; they perform it from a new perspective with contemporary sound devices. The two vocalist poets and the two instrumental musicians work with the richness of all possible interactions to perform the contents of this work: a work full of cultural hi |
Visual Brigade and DJ Palotai present:
