Robert Alfoldi is politicizing day and night and flattering the left, but he said in a smiling publicity interview that it’s not a good idea for politics to be a part of our day. This remark is mainly comic because he is constantly trying to get a job for himself through politics. Most of the time, he goes out and plays in the former May 1 cinema, now in Mephisto, in the current confusing political version of Klaus Mann’s novel – even the theatrical ad interview reveals that. With Mephisto, the Great Plain once failed. After the new director, Attila Vedniansky, did not request a performance at the National Theater in 2013, the comedy theater took over, but there – it lost its political connotations, since it was difficult for Alfold to realize that it was a banned play that could only be seen for a month. embarrassingly failed. He was removed from the show after nine shows.
So Robert Fuldi tried to try Mephisto again, even if it was undoubtedly one of his many failures. It all started with trying to get into the script for the Oscar-winning movie István Szabó, with whose help he wanted to adapt Klaus Mann’s novel in 2013, but István Szabó (let’s say knowing his Great Plain productions) wouldn’t allow it. After that, Attila Vedniansky asked him not to prepare the costly presentation at the expense of the state budget for the past month and a half, since Alfoldi planned the presentation for May and his term ended already in June. The Great Plain, of course, scattered national funds, and ten lectures were given.
After leaving the National, the Comedy Theater took over the show, as it was worth barely ten performances, then the play failed due to lack of interest, and was taken out of the show.
Then the play in a new direction was shown in June of this year in the theater hall of the former cinema on May 1. In the theater’s advertising interview, “The Journalist” described the failed 2013 performance of theatrical history as significant. (Let’s add: it is easy that the interlocutor could not do this, and he was not flattered himself, but Alfoldi wrote his own praise afterwards.)
“The Interview” contains two interesting points: on the one hand, the Great Plain collectively reproaches the galactic theatrical conditions. We know, of course, that we know why: despite Robert Alfoldi’s criticism of the Hungarian government, he is never allowed to stage or play in the best-connected theater of the left. At most, the Great Plain could enter Joseph Katona’s theater as a spectator. But the other theater, Orkini, also associated with the left and considered good, does not need it either.
On the other hand, he is trying to play a civic role away from politics. Let’s also quote, “…Sometimes I wonder how ‘effective’ it is to walk my mouth so much. But I think after a certain point I had no choice but to dismiss myself entirely.” There are situations in life, cycles, years, social or professional moments, in order to preserve one’s identity, one has no choice but to be in a strange media role.”– Says very honestly Alfold, former Weekly Superstar, 2008 Gyurcsány nominee. (We refer to the nation).
Reality compared to this is Robert Alfoldi Its artistic and civic existence, its manifestations are based on the current constant politicization vis-à-vis. Aside from his acting appearances (for example, when he brags about himself in the operetta My Fair Lady at the Central Theater), nearly all of his directing is direct current politicization.Robert Alfoldi is so detached from politics that he joined the 99 movement led by Girgili Karaxone, which in common parlance calls 99% Gyurcsány and 1% Christmas.
It almost explains Gyurcsány-Christmas’ membership in the movement. He says he’s just one of the ad tags (he certainly doesn’t position himself that way, of course) because he wants to live in a country where politics doesn’t intertwine with every moment of his life and doesn’t have to deal with politics either. Totally logical thinking. After all, he was forced to politicize only after 2010 according to his line of thought. (But in fact it also indicates that when he is politicizing, he is not politicizing.)
His weekly performances under the Gyurcsany government prior to 2010 – Janos Galvolje, Henrique Havas or Tivadar Varkashazi, the cabaret player – were not politicized.