“In the years after my father’s death, I spent a lot of time thinking about the journey we had taken together and the journey we had taken apart. How did I become a traitor? And why did they become victims? Why don’t I have any memories? What do I really remember? Or whose memories do I remember? My own or my parents’? When I asked these questions, I knew I was a migrant for a long time. A cultural migrant who has to erase the telltale traces of his past. First-generation migrants do their best to forget the past, the medium, the language, the place they are leaving, which they need to forget in order to become successful migrants. They must also ruthlessly sever the threads of homesickness and nostalgia, otherwise the experiment will fail.

The first-generation migrant refers to the second generation: it must be done to make things better for them. In the second generation, it all backfires, the secret comes out. Because there is no blessing in the secret, says the Talmud. In order for cultural migration to be successful in our country, in our gentrified homeland, it is not enough to leave the village, to betray the peasant world, because it is not presentable. It smells of dung. To explain why it is so, I was looking for the answer in a biographical, or limited fiction, called The Dispossessed.

excerpt from Szilárd Borbély‘s essay A Lost Language

DIRECTOR – Bálint Botos
MUSIC – László Bakk Dávid
COSTUME DESIGN- Blanka Alíz Bajkó
STAGE DESIGN – Előd Golicza
DRAMATURG – Réka Dálnoki

MNEMOSYNE – Evelin Szép/ Ibolya Mészáros
MOTHER – Imelda Hajdu
FATHER – Hunor Pál
MÁLI – Andrea Tokai
BOY – Márk Komlódy
SISTER – Gabriella Szász
GRANDPARENTS, PEASANTS, JEWS, ROMA, EVERYONE
István Papp, Zsolt Dánielfy, Tamás Nagy Garay