I wanted own theatre company, where I could shape work according to my own ideas, but founding Krétakör Theatre was far from an official gesture. We did not register, rent an office or have an institution behind us. I wanted to surround myself with friends, with whom I could work well with. This was the primary consideration when I invited some friends to join me from the independent, or, as it was called at the time, alternative theatre scene. Yvette Feuer came from Arvisura Theater Company, and Zsolt Huszár worked previously at R.S.9 Theater. We founded the Krétakör Theater together.

Krétakör is the Hungarian word for Chalk Circle, as in Bertolt Brecht’s The Caucasian Chalk Circle. I chose the name from Brecht’s play, but I also wanted to refer to our common mission: the way of unearthing the truth. For me, this latter is like this: We chose an issue and draw a circle around it in chalk. We struggle inside the circle until we find the solution to the problem. After a while, whether we solved the issue or not, we erase the circle and draw a new circle elsewhere, around another issue.

As the name Krétakör suggests, I would define us as an issue-centric company, where everyone focuses on a chosen problem and everyone is part of the complete process. I was looking for colleagues that I could work with as partners, who were open and who found improvisation and thinking together liberating.

We created our first production the Great Game based on Jean Cocteau’s novel Les Enfants Terribles. It starred Yvette Feuer and the later tragically deceased Zsolt Huszár. We had the premiere in BUdapest at MU Theatre, and had around 30 further performances in different venues. The production was made from a budget of only 300,000 HUF (900 EUR), we received financial support from the Erzsébet Magyari Foundation through Tamás Koós. That was my very first directorial work which generated press reviews, and we had the chance to perform abroad: we've been invited by the FABULEUS International Youth Theatre Festival in Belgium.

Improvisation is one of the cornerstones of my work method, which was also used for Krétakör’s first production. My own adaptation of the original novel by Jean Cocteau made up the structure of the Great Game, but the final script was created through the actors’ improvisations.

This was also the year I was accepted to the theatre department of the College of Theatre and Film Arts (now University), to Gábor Székely's theatre directing class.

Improvisation had an even more important role in my second production, Teatro Godot as I wrote the play based on the actors’ improvisations. The self-reflective story presents the struggles of young theatre people working in the alternative theatre scene. Two of the actors who participated in this project went on to become core members of the company: Annamária Láng and Gergely Bánki. Béla Pintér was one of the leads and main engines of the performance. The production was met by significant critical acclaim and we were invited to take part in several Hungarian festivals.