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Please find attached the summaries and the covers of the issues that have come out so far in 2007.
The contact details for Criticai Lapok are the following:

Editor-in-chief: Ms Katalin Ágnes Szűcs
Mailing address: HU-1085 Budapest, József krt. 29.
E-mail: critica @ freemail.hu, kaergegt @ chello.hu
Web: www.criticailapok.hu

Kind regards,
Timea Papp

Issue 4, Volume XVI

This month’s issue opens with an obituary, Géza Balogh remembers the puppet designer Iván Koós.
The Tűzraktér Group’s press release on their contorversial situation and György Karsai’s petition to raise funds for the unique Mozart Marathon (Le nozze di Figaro, Cosí fan tutte, Don Giovanni directed by Balázs Kovalik, performed by the students of Ferenc Liszt Acadamy of Music) appear in this forum as well.
Reviews this time are by György Karsai, László Zappe, Balázs Urbán, Judit Szántó, Ildikó Csizner, Katalin Budai, Tamás Tarján, who examine Jordi Galceran’s Dakota (Neptunbrigade), Lajos Parti Nagy’s free adaptation of I.L. Caragiale’s Carnival (Kaposvár), Gogol’s Marriage (Kecskemét), Ernő Szép’s Coffee House and Fireman (Örkény Theatre), Áron Tamási’s Abel adapted by Zsolt Pozsgai and István Iglódi, and Thornton Wilder’s The Bridge of San Luis Rey (both at the Magyar Theatre), and The Cherry Orchard (Comedy/Víg Theatre). The recent productions of Tartuffe at the National Theatre (reviewed by István Ugrai) and L’Avare at New/Új Theatre (seen both by Erzsébet Bogácsi and Balázs Urbán) made Gábor Mihályi examine Moliére dramas currently running on Hungarian stages.
Tamás Tarján was at the guest performance of the National Hungarian Theatre of Cluj/Romania. The troupe performed the children’s musical Over the Smudgy Mountain (lyrics: Dániel Varró, music: Gábor Presser).
Tibor Balogh reports about the Contemporary Hungarian Drama Festival, DESZKA 2007.
Andrea Stuber went to Bobigny and took part in the festival La Standard Idéal, while Ildikó Lőkös spent three nights in Amsterdam.
Csaba Králl introduces three pieces made by young choreographers at Trafó (Does Not Matter by Pr-Evolution Dance Company, About the Accidental Situation of the Surface of Bodies by Csaba Horváth Company and Singing Joints by Andrea Nagy).
Noémi Marik interviews Péter Blaskó, a leading actor of the National Theatre.
Katalin Fittler writes her impressions about the pianist Grigory Sokolov’s concert performed at the Academy of Music, Budapest.

István Ugrai saw The Őszöd Seal, the latest short film of the independent Libiomfilm Productions.

Issue 3, Volume XVI

In the opening of the present issue two petitions can be read. The first one written by the members of Csiky Gergely Theatre, Kaposvár calls attention t othe controversial situation of the open competition for the director’s position in the South-Transdanubian town. The second one signed by the prominents of the Hungarian stage supports the actors of Kaposvár.
In the obituaries Péter Molnár Gál remembers the director Endre Marton, and Géza Balogh writes about the theatre maker and theatre historian Ferenc Hont. In Tamás Gajdó’s article the Hungarian Reinhardt-actor, Oszkár Beregi’s bequest is introduced.
Critics contributing to the present issue – Andrea Stuber, Melinda Sőregi, Adrienne Dömötör, Tibor Balogh, Balázs Urbán, Katalin Kállai – review Lajos Parti Nagy’s Ibusár (Eger), Tchekhov’s The Three Sisters (Kaposvár), Ibsen’s The Wild Duck (Katona József Theatre), Peter Shaffer’s Amadeus (Nyíregyháza), Ferenc Molnár’s Harmony (Comedy/Víg Theatre), Richard Alfieri’s Six Weeks, Six Dances (Thália Theatre). Adaptations of  Hundred Years of Solitude by Márquez are put on stage in the Comedy/Víg Theatre and in Székesfehérvár. The earlier is reviewed parallel by Dóra Juhász, Erzsébet Bogácsi, the latter was seen by Tamás Jászay. Balázs Urbán and Ákos Török write about the latest premiere of Katona József Theatre, Women from Trakhis by Sophocles. Independent productions are introduced by Tamás Tarján (Antigone Mirror by Kriszta Kovács at Komédium Theatre), Ferenc Darvasi (Péter Molnár ’s The Seekers by TÁP Theatre at Katona József Theatre) and Csaba Králl (Korchula by Béla Pintér and Company at Szkéné Theatre).
Orsolya Kővári interviewed Tibor Szervét, a leading actor of Radnóti Theatre.
Bálint Kovács met the members of Maladype. In his article the past, the present as well as the the future possibilities of the company are outlined.
Ilona Fried was in Milan to see Sinzwe Banzi est mort directed by Peter Brook.
Éva Á. Serey shares her impressions on the 38th Hungarian Film Week.
This month Ágnes Józsa visited two exhibitions in Vienna (Biedermeier at the Albertina and Chagall at the Kunsthalle), and two in Budapest (Avant-garede Prohibited and Tolerated at Kassák Museum, Crossing Borders at Ludwing Museum of Contemporary Art).
The Hungarian Television opened the library and broadcast five memorable shows on five consecutive evenings. László Zappe saw them and writes about the remarkable performaces.

Anna Földes recently published two books. Valéria Nádra reviews the compilation of interviews and the monography on István Örkény’s stage.

Issue 1, Volume XVI

Critics of the month – Tamás Tarján, Anna Földes, Katalin Ágnes Szűcs, Andrea Stuber, Noémi Marik, Gábor Pap, Tibor Balogh, Katalin Gabnai, István Ugrai, Tamás Jászay, Katalin Budai, Melind Sőregi and László Sz. Deme – share their views and impressions on Büchner’s Danton’s Death (Kecskemét), Ferenc Sánta’s The Fifth Seal as adapted by Kornél Hamvai and Tamás Jordán (National Theatre), János Háy’s The Senák (Pécs), Görgy Árvai’s Pre-actio (Natural Dangers Company/Természetes Vészek Kollektíva at Trafó), Stanisław Wyspianski’s Acroplis (Maladype Company at Bárka Theatre), E.T.A. Hoffmann’s The Golden Flower Pot as adapted by Nóra Sediánszky and Péter Forgács (Nyíregyháza), Mihály Vörösmarty’s Csongor and Tünde (National Theatre), Norman Allen’s The Last Dance of Nizhinsky (Spinoza), András Dér’s Imitation (Komédium Theatre), Bogusław Schaeffer’s Duck (Focus Workshop, Szeged), Ferenc Molnár’s Liliom (Bárka Theatre), and Patrick Marber’s Closer (Vidám Theatre). Dóra Gimesi writes about performances for children at Stúdió K Theatre.
Géza Balogh went to Tolosa, Spain, to take part in the puppet theatre festival Titirija. Ilona Fried was present in at the FIES Festival in Dro, Italy.
The Japanese Ókura Theatre visited Hungary, their guest performance, Silly Words is reviewed by Tímea Papp.
Two photo exhibitions are covered by Ágnes Józsa. Measure at Ernst Museum shows photos of André Kertész, László Moholy-Nagy, Robert Capa, and Brassai, while the Hungarian House of Photography (Mai Manó House) exhibits pictures about everyday life in the capital under the title of Budapest Journal. Márta Kádár visited the retrospective exhibition of Lajos Kozma, an important graphic artist, and interior and furniture designer of the 20th century.

Anna Földes, Tamás Jászay and Tímea Papp read some books on theatre. László Najmányi’s biography on Péter Halász, A Guide to the Japanese Stage and Margit Hunyady’s biography belong to the non-fiction section of the bookshelf, Elfriede Jelinek’s Sportstück to the drama section, while LoveBook by Katalin Gábos is something unique of its kind. The actress who played several seasons in Nyíregyháza wrote an autobiographical peace about her private and professional life.