PRODUCTION GROUP

“Every theatre production has to create a unique world, system in which the spectator can recognize the events important for him through a series of partial truths; he can put the pieces together like in a puzzle. A good theatre is like the rabbit’s hole for us, where space and time changes every minute, where the actor turns into something different, he is a machine, a plant, an animal and human, statue and animation. Where the memories of our subconscious are connected to the main storyline with a thousand threads, where the numerous manifestations of the world around us can be animated within moments. Where in a concentrated moment I can feel the pouring rain, last year’s love, the fantasy comics or my latest family meal. Where the scenes don’t follow each other in a linear way, but every small unit can stand on its own as an individual vision, social message or even just an impression, but if I want, I can add to the plot by simply creating a story and going on writing my own story.

The question ‘what is this scene or sentence doing here?’ cannot come up in theatre. It has to create a system in which these specks of dust roll by themselves and I can either identify myself with them or they disturb me. If the theatre doesn’t carry this kind of freedom, this kind of interpretation network, then it becomes predictable and transparent. Just another tally in the file where they tried to force a message on me instead of letting me arrive to an interpretation in my own rhythm.”

Márk Radnai (director)

“In the theatre system – reading of a play, rehearsal, taking the scenes, etc. - there are no such things. We can do like for example what we did yesterday, before moving to Zsámbék, that we put a 20-page scene and put it in a car. We try how it works there. This style of work is much freer and allows this play.”

Ádám Kovács – actor

“After a performance like this, posterity can somewhat understand why the cabaret of Pest was so popular.”

Bálint Kovács – Magyar Narancs

“This drama brutally switches our emotions from one extreme to the other; from laughter to shock, from amazement to confusion. This is why it is only on your way home from the theatre, after coming to terms with the exposure to a fast-paced string of stimuli, that the reaL thoughts start to choke you.”

Csaba Méhes – kulton.hu

011 PRODUCTION GROUPThe 011 Alkotócsoport (011 Production Group) was formed in 2011 with the aim of assembling young theatre and film artists to create their own productions beside their other main activities. They presented the theatre adaptation of Quentin Tarantino’s “Reservoir Dogs” in 2011, which was co-written with the actors. After the successful performance at the Summer Festival of Zsámbék, they received an invitation to the Bárka Theatre of Budapest, where the production was staged.The creators financed their productions from their own resources due to lack funds. The set was built from discarded furniture picked up from the streets. In the two years spanning the foundation, experienced artists joined the team (Ildikó Ságodi, Péter Tóth, Zsolt Anger) who helped the production with their own knowledge even without a salary, because although the team didn’t have any funds, the realization and the preparations required professional work.In the summer of 2012, the Summer Festival of Balatonföldvár and the Summer Festival of Szentendre invited the group to create a production from the classical cabaret scenes of Károly Nóti. The team wrote and put their production entitled “Lepsénynél még megvolt!” on stage within three weeks. In November 2012, they started the rehearsals for the Oz-adaptation about drug addicted youths, entitled “Meanwhile in Kansas,” the genre of which is described by the group as progressive – fiction – documentary – trash pathography. The rehearsal process was preceded by six months of research, during which time the creators studied several research articles, biographies, films, novels and other literary sources. They invited Zsolt Bordos to enhance the visual experience and they were experimented with a revolutionary architectural projection and thus together they produced the first prosaic play of Hungary with 3D projection mapping.

MEANWHILE IN KANSAS

“Leaving the theatre after the performance, I was surprised by the sight of the snow. During the time spent inside, I forgot that it’s winter and snow outside. This is not light evening entertainment; on the contrary, it is a particularly thought-provoking performance, witty,

spectacular and bitter at the same time. It’s a must see.”

HISTORYIn January 2012 the 011 Alkotócsoport, which is a community of young artist graduates formed in 2011, applied for a grant at the National Cultural Fund for a theatre production, which is about dependence and addiction. Our production wishes to draw attention to the biggest problem of nowadays: the dangers of drug addiction. After winning the competition and six months of research we had the opportunity to realize the production.

In the preceding stage we were searching for sources which had already dealt with this topic in some way. We watched cult fiction films (Requiem for a Dream, Trainspotting, Spun, Enter the Void) and documentaries, such as the work of László Pesti about heroin users (Budapest Végállomás). In this research period we tried to map the musical and visual art fields that are strongly connected to this culture. We organized discussions in which we outlined the possible dramatic arcs, defined scenes and determined the aim of the play: to present the obvious attractiveness and satisfaction of drug use and its effect leading to anxiety, emptiness and finally to destruction. In the end, we found the keyword that could become the link between the “civilians” and drug users; addiction.

To research the effects of different drugs, we consulted several professional journals that analyse the effects of drugs from a chemical point of view. Addiction, as such, is specific to every person. Passionate adventure-seeking, workaholism, the pursuit of a healthy life-style, the passion for gambling, the obsession with tidiness, using medication; they all lead to addiction. We decided that the production would deal with fulfilling a need felt by the people, and not with the drug itself, distant from and condemned by the everyday people.

OBJECTIVES WORKING METHODGeneral beliefs are wide-spread about drugs. It is something is everyone is afraid of. All parents are afraid for their children. Drugs mean ending up on the streets, disease, distortion. Drug is death. This is not true. In our current society, one in five young people have already tried some kind of drug. Like alcohol, medication, sex, smoking, coffee, gambling. Passions don’t have destructive effects on their own, but as the result of dependence. Because it is good. And we want to repeat the experience again and again. Today’s young generation is maybe more aggressive, more impatient than the previous one. They’re searching for their place.

Many of those youngsters unable to properly handle the upset order in society and in their family and to utilise their energy well find that something that lifts them out of the perceived upset world in drugs. What is this need that they want to fulfil like this? Does the act of fulfilment really happen? And what is this force that also makes one forget the long-term consequences? For us, this question is important not only in relation with our own surroundings. We cannot forget those articles in the daily news that report the down-fall of university and high school students.

In the production we try to move the audience to a non-existent world. To the world of fantasy, dream, hallucination from which the protagonists come back every now and then to the reality undesirable for them. The goal of the play is to demonstrate the phenomenon. Not with the use of the classic drug- prevention methods, but with strong visual theatre devices. The topic requires the predominance of the figurative, associative, cinematic mechanisms of action instead of the linear-dramaturgy.

For the processing of the topic, several books, fictional films and documentaries, educational films, music, audio materials, interviews, newspaper articles, blogs and biographical accounts served as a basis because it would be irresponsible to deal with such a serious topic without studying all these materials. We analysed a lot of films and books with the stage designer and the dramaturg separately, but the real work started when we moved in together for three days. In order to be able to find our way in this vision-world, we had to find the common denominator. While the stage designer created the pictures and graphics, we edited the text and searched inspirational films and photos. We tried to clear the stereotypes from all of our minds and start to write, edit and organize the dramatic material.

SET DESIGN AND SPACEThe plot of the play takes place on several levels. In reality, which is a flat, in a psychedelic dream world, which is the world of Oz, and in the visions of certain protagonists. We wanted to obtain these different levels with different theatrical effects. The 3D mapping technique, which is barely known in the theatrical world and is currenty mostly used for building painting, is capable of such visual effects that are perceived as three- dimensional. We had to design a set the function of which can support the theatre’s form of expression and at the same time it would be suitable for this type of architectural projection as well.

3D MAPPINGThe outrageous, ground-breaking video projections were initially introduced by VJs (Visual Jockeys) when the projection onto canvas became boring; so the projections to various forms began. The projected image “fell apart” on the new surface, making it more exciting for the viewers and dislocating the from their usual (passive) observer status; making them take part in the interpretation of the images. One of the pioneers of this genre is the AntiVj.The 3D animation, as a tool used by artists, enabled the more serious use of architectural projection as a genre and nowadays such complex projections are created where it is difficult for the viewer to detect the boundaries between real and virtual. This can be achieved by constructing the real space in 3D and then projecting it back to the real building.The re-projection of the virtual 3D animation to the real 3D space and the play resulting from the combination of the two cannot be interpreted in a traditional way by the viewer; his senses fail him (because the projected image modifies the projected surface), so the viewer is dislocated from the traditional, usual perceptual and interpretation patterns of the sensation and encouraged to find new interpretation.

PLOTWe used two important materials for the development of the dramaturgy and the context of the production. One of them is L. Frank Baum’s novel, The Wonderful Wizard of Oz, the other is Viktor Kubiszyn’s Drognapló (‘Drug Diary’), the author’s personal narrative about 16 years of drug use. The story of the tale seemed to be suitable to represent how the girl who wishes to get away from the black and white world gets to the emerald city and how she tries to find her way back. That is, what was really happening in reality while Dorothy imagined she was staying in the realm of Oz. Several symbols and characters of the tale were perfectly suitable for narrating this topic. The protagonists joining the girl in her journey are all characters waiting for some kind of solution who suffer from their own needs.

Everybody knows the story of The Wonderful Wizard of Oz. A tornado separates Dorothy from her home and family and she find herself in an unknown world. She has to get to Oz in order to go back home. During her journey, she finds friends who too are waiting for help from Oz to fix their lives. Oz is willing to help only if they kill the Wicked Witch of the West. Once they finally manage to accomplish the task, Oz’s secret is out. He doesn’t have any power, he cannot really help them. There is no way out for Dorothy. At least, it seems so, until it turns out that the solution was there on her feet all along, in her shoes which – if she had known their secret – would’ve flown her home to Kansas at the beginning already.It is difficult to get out of the world accessible with drugs. Moreover, the black and white reality of Kansas or Budapest cannot be compared to the miracles of the other world. The plot runs parallel between these two worlds, both separately and simultaneously. We see a Budapest apartment the whole time, while countless scenes, dangers, timelines, decisions and drug-effects mix in front of our eyes.

Dorothy - Alexa BakonyiGood Witch of the North - Alexandra Borbély Wicked Witch of the West - Hanna Pálos Scarecrow - Bence TasnádiToto - Ádám KovácsTin Woodman - Viktor KlemOz - Vince Zrinyi GálCowardly Lion - Dániel Király Guardian of the Gates - Balázs Kulcsár

3D mapping: Zsolt BordosSet design: Renátó Cseh Costume design: Juli Szlávik Dresser: Vivien Cseh Lighting: Miklós MervelMusic and sound: Zoltán Belényesi Dramaturg: Ambrus Ivanyos Assistant: Nóra Zágoni Production Assistant: Júlia Kruzslicz Contributor: Zsolt Anger

Director: Márk Radnai

CAST AND CREW

THE PILLOWMAN

“Director Márk Radnai has staged something that is rarely seen in Hungarian theatres. Martin McDonagh’s Pillowman namely mixes the genres of a thriller, a horror or a revenge play, a

whodunit, a black comedy and a political play.”

Martin Mcdonagh - the PillowMan

Three kids went missing, two of them were found dead. The murders show some strange connections with different short stories by a local writer, Katurian. Two investigators try to get a confession from the suspect, but Katurian cannot tell them anything. He knows that he’s innocent even when all the evidence indicates otherwise. His brother on the other hand, who’s mentally ill, is becoming more and more suspicious even for him.

The play is based on three scenes, two interrogations and a long discussion between the two brothers in a prison cell. The audience also hears different short stories from the writer Katurian, which help understand the brutal life and the particular relations between the two brothers.

The set of the production reflects onto the one-way mirrors of the interrogation rooms, the audiences sit very close around the stage, which is a glass cube. The people inside the cube can’t see what’s outside. With a thriller like this, it was essential for us, to put the audience in a strange place, in close proximity to the actors, but separated from them. In this way all the emotions and violence can be easily experienced.

szputnyik

Szputnyik Shipping Company, founded in January 2008 and led by Viktor Bodó is an independent theatre. Since this date the company has presented 28 productions independently or in co-production with Hungarian or international resident theatres and theatre companies. In the spirit of accessibility and mobility the company also started its educational activity in 2011, in the form of plays that can be performed in classroom settings as part of a drama pedagogical program with the participation of actors.

TUPOLSKI - Pál KárpátiKATURIAN - Péter JankovicsARIEL - Dániel KirályMICHAL - Károly HajdukANYA - Kata PetőKISLÁNY - Niké Kurta

Set Design: Renátó CsehTechnical Department: Zsolt BaloghSound Design: Gábor KeresztesLightning design: Miklós MervelCostume: Juli SzlávikVideo: András JuhászDramaturg: Ambrus IvanyosMake up: Barbara KundAssistant: Andrea PassProduction assistant: Nóra ZágoniProduction manager: Viktória Kulcsár, Péter Tóth

Director: Márk Radnai

CAST AND CREW

RESERVOIR DOGS

“When representing physical violence on stage, one can operate with only a smaller number of visual props or the end result will become overdone and thus ridiculous, if one finds the right theatrical language, because of the actors’ personal presence on stage, the impact can be greater than in a film where spectators and the act of violence are cut off by the screen.”

RESERVOIR DOGS

The production tells the story of six guys from Budapest, who do not know each other. They plan to break into Andy Vajna’s house on the eve of the producer’s birthday, and start a new life in a different country with the movie money they get. The operation is planned by the father of one of the boys, who gives them code names: White, Blue, Blonde, Orange and Pink. According to the plans, after the burglary they would directly drive to Zsámbék to distribute the money in a warehouse. The operation ends in a bloodbath: one of the boys cannot keep his nerves and starts shooting. The police raids the house. They all flee through different routes and know nothing about the others. At the arranged meeting point, in the warehouse, they desperately try to reconstruct the events. Everyone becomes mistrustful, they accuse each other and fear for their own lives. They trust no one, but they neither dare leave the warehouse, nor stay inside. They’re in a quagmire, especially because they discover that there is a snitch among them.

Fehér (White) - Ádám Kovács Narancs (Orange) - András Rusznák Szőke (Blonde) - Viktor Klem Rózsaszín (Pink) - Bálint Rada Széparc (Nice Guy) - Zoltán Simon Kék (Blue) - Gergely KovácsMester (Master) - Dániel Király Zsaru (Police officer) - Benő FehérMercédesz - Alexandra Borbély Jessica - Hanna PálosJózsi - Zsolt Anger

Costume design: Júlia SzlávikSet design: Renátó Cseh Dramaturg: Tamás FeketeSound: Zoltán BelényesiLighting: Miklós MervelMakeup: Beatrix KrasznaiChoreography: Kitty FejesAssistant: Krisztina FodorProduction manager: Ildikó Ságodi

Director: Márk Radnai

CAST AND CREW

DROSZT

“Droszt, shows the adventure-packed nightlife of Budapest taxi-drivers in a way that the spectators sitting in Atrium Theatre (which was once a cinema) cannot decide if what they are watching is a

theatre performance or a movie. Nonetheless, they are laughing all the way through it.”

DROSZT

Budapest - Night - Taxi

In the fall of 2013 we produced DROSZT. This performance is about taxi drivers in Budapest. Our aim was to present one night in the life of four drivers in a dozen smaller scenes, a dozen rides. There are no direct links between the passengers, but altogether the audience gets a quite strong impression of the life and work of the drivers and of course of Budapest.

The set is only a car and a huge movie screen. Three cameramen and an editor works parallel to the actors creaing a live-movie in the theater. We used amateur actors to give the impression of that real passengers sitting in the cars.

The curiosity of this project was that we started out with the set design first, then we looked for actors and the story itself was written later.

Bemutató: 2013. október 10., 19 óra

DROSZT_210x100.indd 1 10/3/13 4:15 PM

Cast:

Adilov Alim, Adilov Amon, Adilov Ilham, Bata Éva, Bán Bálint, Bárnai Péter, Biszak Áron, Dömök Edina, Farquhar Anna, Gosztonyi Csaba, Kispál Zoltán, Kovács Ádám, Kövesi József, Németh Ágnes, Siflis Anna, Tolnai Klári, Varga Virág

Set Design: Renátó CsehCostume Design: Juli SzlávikLighting Design: Miklós MervelCameraman:Károly SpáhAndrás Táborosi Bernadett Mayer VJ: András JuhászDramaturg: Ambrus IvanyosProduction manager: Viktória KulcsárProduction assistant: Nóra ZágoniAssistant: Dóra Hannig

Director: Márk Randai

CAST AND CREW

Flatletpanic

“The play Flatletpanic could be a candid camera prank, but we would be fooling ourselves if we still laughed at the end. Instead the production is a memorable mixture of a tragicomedy, – with a wry sense of humor but also hilariously funny – a psychological drama that equals

a couples therapy session and a mystical, engaging science fiction.”

FLatLetpanic

A young couple are looking for a flat and receive an offer they cannot refuse from a very strange landlord. When they try to start their new life, they soon realise, that they can’t be together anymore, they have so much anger towards each other that they have to break up as soon as possible. The only problem is that the door vanishes. After a long, painful and unsuccessful phase of finding a way out of the flat they realise, that they are either in a dream or they have lost their minds. If that’s not enough, the flat itself begins to act crazy. They have to find some way to get out, and the only way is through mutual forgiveness or death.

In this play, neither the characters nor the audience is able to decide when reality ends and dreams or insanity begins. On the surface, they are just two typical people fighting with each other, but in this surreal situation whole new worlds open and collapse and nobody knows for sure if they can get through this alive.

Alvin - Viktor KlemNóra - Hanna Palos The others - Győző Szabó

Set design: Renátó Cseh Costume design: Juli Szlávik Lighting: Miklós MervelMusic and sound: Zsolt BaloghDramaturg: Ambrus Ivanyos Assistant: Nikolett Magócs Production manager: Nóra Zágoni, Viktória KulcsárGraphic Design: Péter Haragos

Director: Márk Radnai

CAST AND CREW

reality room“I’d never have thought, that a neverending corridor will really thrill me once in a performance “

REALITY ROOM

Inspired by Syrian and Ukranian separatists, disillusioned with democracy and proclaiming the lies inherent in consumer society, a radical group creates the Independent Budapest State. The newly founded State requires the residents of Budapest to take a citizenship exam. One of the sites of these exams is an old hangar of Csepel Metal Works, where the audience is split up into groups and try out an imagined, fictional but geographically and chronologically very familiar situation. They will be tested: can they stay true to their beliefs? Can they be confused, bought out? And most importantly: can they have a say in the shaping of their own destinies?

The performance makes the audience face their own strengths and weaknesses, reflecting on how being under pressure, be it social, political or ideological, influences our ability to make decisions. The emphasis is on our individual choices, in reality both serious and irrevocable. Even small choices, compromises can lead to truly horrible societies, not to mention the fact that our very first decision may have already lead us on a morally ambiguous path.

The young artists of the 011 Group have completed six performances so far. Their works deal with matters that are important to their generation (drugs, violence), while also searching for a connection with historical events and themes that affect contemporary Hungarian society, though younger generations have no direct experience of these, have nothing to do with them. For example the members of 011 Group did not experience the autocratic system of Communism, only heard stories about it from their parents and grandparents. The fact that they have to experience such tendencies in today’s Hungary forces them to confront these themes, a traumatic experience that they want express in a theatrical form. The performance attempts to explore this dystopian world and the question of free will, using the fresh, experimental theatrical language of this young generation.

Soldier 1 - Vince Zrinyi GálSoldier 2 - Ádám KovácsSoldier 3 - Gergő Kovács

Set design: Renátó Cseh Dresser: Vivien Cseh Lighting: Miklós MervelMusic and sound: Zsolt BaloghDramaturg: Ambrus Ivanyos Assistant: Nikolett MagócsProduction Manager: Nóra Zágoni

Director: Márk Radnai

CAST AND CREW

REVIEWS“Tremendously spectacular projection with exceptionally strong atmosphere, roaring techno and thorough lighting glazing accompanies the loosely entwined scenes: the twisted Oz-story about the heroin-user Dorothy and her addict friends joining her along the way, who seek a solution from the wizard for quitting drugs; and the monologues about the amazing now and terrible tomorrow of drugs, based on the Drognapló of Viktor Kubiszyn; and the other surreal, vision-like fractions – always with great humour and speaking very honestly about drugs.”

http://egyfelvonas.postr.hu/azert-van-annyi-drogos-mert-hazudtok - Kovács Bálint

“This drama brutally switches our emotions from one extreme to the other; from laughter to shock, from amazement to confusion. This is why it is only on your way home from the theatre, after coming to terms with the exposure to a fast-paced string of stimuli, that the reaL thoughts start to choke you.”

http://kulton.hu/szinhaz/011-alkotocsoport-meanwhile-in-kansas-kritika

“The way the daredevils of the 011 Alkotócsoport (011 Creative Group) reinterpreted the story of Oz, brings a sea of change into the reigning Hungarian theatrical life and furthermore it may help to bridge the generation gaps in the representation of the theatre’s form of expression.”

My thoughts are that it was high time to put this whole Kansas/Oz-story in a new dimension. And it needed to be done with such a bold and passionate zeal as the members of the 011 Alkotócsoport do at the Bárka theatre, in the surreal trash-vision of Meanwhile in Kansas.

I would like if this so called “mapping theatre” combined with the giant projector could become a (sub)genre of its own because mixing photography, film and stage in such a way creates an amazing perspective experience by making an intense impression on multiple senses at the same time. I wish more theatres hosted the 011, or even better, I wish they had their own theatre building with their own repertoire and more and more premieres.”

http://www.journality.hu/Meanwhile-in-Kansas-avagy-pszichedelikus- melyrepules-Dorka-tudatalattijaba/130/14266/0

“Progressive, because they use a 3D-effect theatre technique which has a powerful impact itself on the adrenalin level of the audience. Fiction, because the story is based on the children’s novel by L. Frank Baum and as such, the best Hungarian Oz-adaptation so far. Documentary and pathography, because it deals with drug addiction by using Drognapló (‘Drug Diary’) by Viktor Kubiszyn in which the author wrote about his own experiences of the beautiful and hellish empire of the wizard. All this was put on stage with intense dramaturgy; alternating narration built on internal monologues; captivating acting of precisely directed actors by Márk Radnai, who being attracted to cinematic solutions created an inner movie.”

Magyar Narancs 2012/01/17 – Sisso

REVIEWS“This 1.5 hour performance does not pass judgement on drug users, but seeks to answer the whys instead and encourages the audience to not just superficially but thoroughly reflect upon what they saw because drugs do not choose; they take their toll from every social stratum – rich or poor.”

http://petovar iagnesszinikr i t ika.wordpress.com/2013/01/17/meanwhile-in- kansas/

“Meanwhile in Kansas can be criticized from many points of view, but certainly not from one: it is about the most invisible phenomenon of the Hungarian reality, about today’s (and especially tomorrow’s) drugs and users.”

http://7ora7.hu/programok/meanwhile-in-kansas/nezopont

“Each and every phase of the story is subordinated to the dependence; there is not one gesture, not a single moment which suggests that there is a way out. There is nobody, no love, no friendship, only comradery solidarity and relationships built on interests which are formed because of using.”

http://revizoronline.com/hu/cikk/4360/meanwhile-in-kansas-011-es- alkotocsoportbarka-szinhaz/

“The world of wizard of Oz was never exactly close to me. Márk Radnai and the production directed by him and, of course, the techniques used, however, offered an interpretation of the story through which an understanding still unknown was added to the stumbling along of Dorothy and her friends.”

http://www.szinhazkolonia.hu/kritika/Ozhoz-vezeto-utak

“This time Adam and Eve are called Alvin and Nora, they are not the first, but the last couple on earth, who were not expelled from Paradise but locked up in a bedsit. Their sin is that they cannot love each other honestly. There is no god in this story, only an extraterrestrial, who plays god, but appears in a human form. He has certain conditions, of which Nora an Alvin are unaware, so they have to find out the rules of the game themselves. Their story can be read as a Biblical paraphrase, since they can eat as many tomatoes as they want – a vegetable which in Hungarian has the same name as Paradise. They, however, never touch the forbidden fruit, although the door of their fridge is laden with apples. The owner of the skimpy flat persuades them to take the lease, saying that would not need space to build an arc anyway. The verdict is strict and unequivocal: if we take the extraterrestrial for god, he is one who does not worry about our fate, if there is an arc being built, we do not build it ourselves, since we are only one of the species waiting to be saved.”

“It is not the first time that director Márk Radnai and his ensemble of young artists, the 011 Alkotócsoport, makes their audience wonder. Their earlier production, Meanhile in Kansas, is a remake of Oz, the Great and Powerful that depicts the story as a drug-infused vision dreamt by Dorothy. Márk Radnai’s other direction, Droszt, shows the adventure-packed nightlife of Budapest taxi-drivers in a way that the spectators sitting in Atrium Theatre (which was once a cinema) cannot decide if what they are watching is a theatre performance or a movie. Nonetheless, they are laughing all the way through it.”

MOVIE SPOT FOR THEATRE WORKS:

THEATER WORKS TRAILER:

PILLOWMAN 1:https://www.youtube.com/watch?v=zfg53aCjc9Y&list=UUMQQEuCK2keikUpfGmWWzEA&index=7

PILLOWMAN 2:https://www.youtube.com/watch?v=0vrpAYmi-LE&list=UUMQQEuCK2keikUpfGmWWzEA&index=6

MEANWHILE IN KANSAS:https://www.youtube.com/watch?v=4iHwIjyj3BU&index=37&list=UUMQQEuCK2keikUpfGmWWzEA

DROSZT:https://www.youtube.com/watch?v=8MVdckqHpe4&list=UUMQQEuCK2keikUpfGmWWzEA&index=15

011 FESTIVAL:http://vimeo.com/93091571

MEANWHILE IN KANSAS:https://www.youtube.com/watch?v=JsD0k8yE0Ws&list=UUMQQEuCK2keikUpfGmWWzEA&index=33

MEANWHILE IN KANSAS 2:https://www.youtube.com/watch?v=Q5vu2fDlNP4

FIRST 3D MAPPING TEST IN THEATRE PRODUCTION (HUNGARY)https://www.youtube.com/watch?v=o8D4ANYpGfI&list=UUMQQEuCK2keikUpfGmWWzEA&index=35

RESERVOIR DOGS:https://www.youtube.com/watch?v=1Q1VYq-v8ro

MIZANTROPE:https://www.youtube.com/watch?v=HaRDVndT7hA&index=31&list=UUMQQEuCK2keikUpfGmWWzEA

CONTACT

011csoport@gmail.com

Viktoria Kulcsar ( production manager ) viktoria.kulcsar@gmail.com +36203361134

Csaba Gosztonyi ( communication manager )csaba.gosztonyi@carbongroup.hu +36209380673