Mrożek's uniquely absurd and satirical style suits the company well. House on the Border deals with human freedom, power and the boundaries drawn in identity. Attila Keresztes casts the story in a form most reminiscent of a television comedy, as if scenes from a comedy series were flashing before our eyes. One of the basic characteristics of the sitcom is that we see the everyday lives of characters who, part by part, return to their everyday lives and become comedic by their individual behavior, conflicts or misunderstandings. The genre is episodic, as evidenced by the static nature of the characters, with no character development, as if they were mannequins who reacted in a similar way to different situations. The set creates the possibility of a cinematic 'editing technique': as the revolving stage moves, we are introduced to the different rooms of the house in rapid succession, and later we switch abruptly between different locations, giving the impression of watching a new cut. The actors sometimes step out of the space, as if they were stepping effortlessly from the screen into the theatre. This is when the viewer realises that this is theatre, and not a scene from a series, which is sold as a credible production.

At the heart of the performance is a house that is unexpectedly divided in two by a border, with half the rooms belonging to one country and the other half to another. It's a completely absurd situation that creates conflict and contradiction. Crossing a border is not only movement in the physical sense, but also a confrontation with power, freedom and the law. It is a political imposition: one encounters one's own limits and oppression, in a situation where there is nothing to do, where one has to try to survive by following rules.

What struck me most during the performance was the question of "where is home?". It can be frightening to be confronted with historical events that are beyond our control, yet we have to live within them. These are difficult topics, especially for Hungarians stranded across the border, but the performance still makes us laugh, and we put a bittersweet smile on our faces. We recall family stories we may not have lived, of a world where statelessness was the greatest fear. I could hear my grandmother's voice in my ears as she spoke of the past, correcting herself and retelling the story over and over again.

All in all, I went into this performance feeling enthusiastic, because I had been affected by the experiences of the past few days, and I came out of it feeling enthusiastic, excited for the finale.

 

 

Léna Barna

13 October 2024