The story of Ibusár is always timely and it always will be timely because we make it to be. Ibusár is a very precise print of that bitterness that has its roots in our daily lives. We too dream about the life we’d like to live instead of living the one we have, just like Jolán, the main character of the play. We look at her fate like catastrophe tourists because it is not our fate and it could never be ours. 

But it in the end only the escape routes are different. For Jolán it is operetta, for others something different they don’t want to admit or don’t even realize. The drama isn’t about Jolán Sárbogárdi’s dilettantism, not our cosiness in the operetta genre or its parody, but about Jolán’s fate: the distance of circumstances and desires, the disjoining of hopes and capabilities, the person writhing in the hesitant nexus of human relationships and emotional shackles of the Other. All this is topped by the inner or outer border Balkan type Hungarian-ness and national pride which more often than not has about as much connection with some authentic nationality as Jolán artistic self-evalutation.

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