Witold Gombrowicz: Yvonne, Princess of Burgundy Yvonne: Dorottya Nagy King Ignace: György Kárp Queen Margaret: Ibolya Farkas Prince Philip, the heir: Barna Bányai Kelemen Lord Chamberlain: Ferenc Szélyes Isabelle: Nóra Szabadi Cyril: Aba Sebestyén Cyprian: Levente Ördög Miklós Yvonne's first aunt: Gaby Mende Yvonne's second aunt: Annamária Biluska Innocent, a courtier: Barna Bokor Valentin, the butler: János Henn Beggar: Botond Kovács Lord Chancellor: Gábor Tollas First dame: Hajn...alka Csíki Second dame: Orsolya H. Moldován Directed by: Alexandru Colpacci Scenes designed by: Judit Dobre-Kóthay Translated by: András Pályi Music by: Delia Serban Choreography by: Lóránt András Assistant director: János Henn Assistant designer: Ágnes Szakács Pyrotechnic effects by: Belloni Prompter: Erzsébet Sugó Stage manager: László Szakács Yvonne's tragicomic story might be summarised in a few words. Prince Philip, the heir to the throne, meets a girl while wondering around, who is not charming, but repulsing. The Prince is unable to bear her presence from the first minute, she annoys him too much; at the same time, it is also unacceptable for him that he has to hate poor Yvonne. He rebels; turning against the law of nature, he betroths the girl.Yvonne soon becomes a disruptive element at the royal court. The dumb, terrified presence of his numerous defects makes everyone remember his/her own concealed handicap, monstrosity and sins…and the environment of the king soon becomes a hotbed of terrors. Finally, the court uses all its magnificence, superiority and excellence to murder the woman from above. Some of teh director's notes: In my opinion 'Yvonne' is one of the most enchanting literary texts of the 20th century. Gombrowitz is daring and challenging at the same time, while being also an explorer. He was experimenting with adapting his short stories for stage from 1935 already. Today, Absurd counts as a classic, Dadaism might be explained and understood, and Surrealism is mentioned together with the Renaissance. However, 'avant la lettre', all these trends entwine in Gombrowitz's novels and dramas, as the (not at all dialectic) fight for predomination between these forms are continuously apparent... Comedy? Drama? Farce? Politics? Fairytale? Where is Shakespeare and where is his Hamlet? Here is the bloody hand of Lady Macbeth... Does grotesque solve everything? Yvonne, as an obscure, charming and terrible, enchanting object operates as a vehicle for uncovering. Perhaps, we get to know who we are and what we are like... Why is the story about the false court of an imaginary kingdom (Burgundy)? Practically speaking: who are they? And, basically, who are we?
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