I finished my university studies and officially became a theatre director. My professor, Gábor Székely, taught me to respect both uttered and unspoken sentences. His simple, restrained, but ruthlessly consistent will had a strong impact on me. I asked him to come see my work for years because I needed his advice. The courses taught by aestheticist Péter Balassa and writer György Spiró were also very memorable for me.

Of the five years I spent at university, the most influential three days were the ones I spent with the late Ivan Nagel, German theatre scholar and intendant. In those three days, he showed us productions we had never seen before, he spoke about theatre in a wonderful and mesmerising way. Gábor Székely laid the proper groundwork in a professional and moral sense. Ivan Nagel simply launched us into space.

For my final project, I returned to my roots and chose a piece by Federico García Lorca. I directed The House of Bernarda Alba on the main stage at the József Katona Theatre in Budapest. That is when I got to know Eszter Csákány, who then joined Krétakör Theatre. The production itself was a disappointment, but nevertheless Gábor Zsámbéki offered me a contract with József Katona Theatre. I thanked him for the invitation with respect, and explained that I was working on building my own company. Gábor Zsámbéki gave me the opportunity to show myself in the theatre scene, and he continued to support me despite the fact that I've declined his offer. I was in no shortage of repertory theatre offers as I was also invited to Vígszinház, led by László Marton, Madách Theatre led by Imre Kerényi and András Bálint’s Radnóti Theatre, however I chose Krétakör Theatre.

The then director of the Festival d'Avignon, Bernard Faivre d'Arcier, offered us to finance and invite the new performance of Krétakör Theatre due to the European Union's Theorem program, which targeted to introduce young talents from Central and Eastern Europe. We received a huge amount of money and created a large-scale show-theater, which highlighted to the excesses of the commercial media still unknown in the Eastern Europe block at that time. Nexxt received favorable and bad reviews, too, but it was a great success among spectators. The main roles were played by Dorottya Udvaros, Zoltán Mucsi and Viktor Bodó. In this performance, we first worked together with the visual designer Márton Ágh, with whom we have made at least ten projects ever since.