ORLANDO he is at the same time a boy, a woman, a novel, in different eras, in different styles, and now also a monodrama at the Csokonai National Theater in Debrecen, Hungary.
It's time travel: different stations from the Elizabethan era to the 20th century.
It's transformation and maturation: from a 16-year-old teenager he becomes a man, and at the age of 30 he becomes a woman, then at 36 a lady.
It is flight: from social life to solitude, from reality to dreams, to the world of literature, from where it can travel outside space and time. A circular motion, a spiral around a central point. Adventures in England and Constantinople, as ambassador, as duke, as a gypsy girl.
It's love and the ecstasy of love: longing, disappointment and resignation. A fascinating (and terribly long) declaration of love.
It's life and literature, and their fusion: a poem written over four centuries, which is simply called "The Oak".
It's memory: capricious seamstress, who sews here and there, so that after the needle she puts all the story on a single thread.
It's poetry and nature: a blue seagull. The symbol of feminine beauty. In mythology a woman, when she sees her dead lover, turns into a blue seagull and mourns until the gods change her husband into a blue seagull as well.
Orlando. Orlando is game. It's ecstasy and order. It's a busy moment.
Orlando: Ilona Sárközi-Nagy
Narrator: Tibor Mészáros
Directed by: Anca Bradu
Playwright: Adorján Beáta
Music: Mezei Szilárd
Choreographer: Péter Gemza
Video and Costumes: Mihai Păcurar