011 Production Group - BOOKLET - 2014

“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 GROUP
The 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.”

HISTORY
In 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 METHOD
General 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 SPACE
The 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 MAPPING
The 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.

PLOT
We 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.
CAST AND CREW
Dorothy - Alexa Bakonyi
Good Witch of the North - Alexandra Borbély
Wicked Witch of the West - Hanna Pálos
Scarecrow - Bence Tasnádi
Toto - Ádám Kovács
Tin Woodman - Viktor Klem
Oz - Vince Zrinyi Gál
Cowardly Lion - Dániel Király
Guardian of the Gates - Balázs Kulcsár
3D mapping: Zsolt Bordos
Set design: Renátó Cseh
Costume design: Juli Szlávik
Dresser: Vivien Cseh
Lighting: Miklós Mervel
Music and sound: Zoltán Belényesi
Dramaturg: Ambrus Ivanyos
Assistant: Nóra Zágoni
Production Assistant: Júlia Kruzslicz
Contributor: Zsolt Anger
Director: Márk Radnai

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.
CAST AND CREW
TUPOLSKI - Pál Kárpáti
KATURIAN - Péter Jankovics
ARIEL - Dániel Király
MICHAL - Károly Hajduk
ANYA - Kata Pető
KISLÁNY - Niké Kurta
Set Design: Renátó Cseh
Technical Department: Zsolt Balogh
Sound Design: Gábor Keresztes
Lightning design: Miklós Mervel
Costume: Juli Szlávik
Video: András Juhász
Make up: Barbara Kund
Assistant: Andrea Pass
Production assistant: Nóra Zágoni
Production manager: Viktória Kulcsár, Péter Tóth

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.
CAST AND CREW
Fehér (White) - Ádám Kovács
Narancs (Orange) - András Rusznák
Szőke (Blonde) - Viktor Klem
Rózsaszín (Pink) - Bálint Rada
Széparc (Nice Guy) - Zoltán Simon
Kék (Blue) - Gergely Kovács
Mester (Master) - Dániel Király
Zsaru (Police officer) - Benő Fehér
Mercédesz - Alexandra Borbély
Jessica - Hanna Pálos
Józsi - Zsolt Anger
Costume design: Júlia Szlávik
Dramaturg: Tamás Fekete
Sound: Zoltán Belényesi
Makeup: Beatrix Krasznai
Choreography: Kitty Fejes
Assistant: Krisztina Fodor
Production manager: Ildikó Ságodi

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 AND CREW
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 Cseh
Costume Design: Juli Szlávik
Lighting Design: Miklós Mervel
Cameraman:
Károly Spáh
András Táborosi
Bernadett Mayer
VJ: András Juhász
Production manager: Viktória Kulcsár
Production assistant: Nóra Zágoni
Assistant: Dóra Hannig
Director: Márk Randai

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.

CAST AND CREW
Alvin - Viktor Klem
Nóra - Hanna Palos
The others - Győző Szabó
Costume design: Juli Szlávik
Music and sound: Zsolt Balogh
Assistant: Nikolett Magócs
Production manager: Nóra Zágoni, Viktória Kulcsár
Graphic Design: Péter Haragos

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.

CAST AND CREW
Soldier 1 - Vince Zrinyi Gál
Soldier 2 - Ádám Kovács
Soldier 3 - Gergő Kovács
Dresser: Vivien Cseh
Music and sound: Zsolt Balogh
Assistant: Nikolett Magócs
Production Manager: Nóra Zágoni

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://petovariagnesszinikritika.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:
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
THEATER WORKS TRAILER:
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

011 Production Group - BOOKLET - 2014

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011 Production Group - BOOKLET - 2014