I directed the final production of graduating students at the ENSATT theatre school in Lyon entitled Audition! Competition!. The production based on the improvisation of acting students, about the employees of a department store, was essentially a critique of capitalism. As they started to work, students went to various shopping malls and interviewed local employees and customers. During the work process, we've been experimenting on how we can create a performance based on elements of the reality. How we write together, how to edit a text, how to build dramaturgy and the content and form of a production. The performance was invited to La Cartoucherie in Paris.  

I continued my work in France: after Lyon I headed to Paris and directed the play Noahplanet  at Théâtre National de Chaillot. The cast was chosen through an open casting and finally involved dancers, actors and circuc artists too. The story was my own creation, music was composed by Marcell Dargay. The topic of the play was exclusion and racism. The performance included film scenes, created by director of phorography Marcell Rév, by using this form I wanted to develop further the artistic language of The Priestess. It was an exciting multidisciplinary artistic production, which even included interaction with the audience. Unfortunately, I did not give enough time for ourselves to forge a homogene artistic community, so there were some who lost their faith and created a bad mood, poisoning the work atmosphere. Although I very much liked the language of the performance, reviews were mixed.

It was through Nikolaus Bachler, that I had the opportunity to direct Rigoletto at the main stage of Bayerische Staatsoper in Munich, with real stars in front of an audience of 2000. I had the chance to work together with a truly fantastic singer, Patricia Petitbon, as well as the wonderful dramaturg and outstanding person Miron Hakenbeck, with whom I continue to collaborate with. Although the audience heckled us on opening night, the production later became a big successes of the opera house and remained on repertory for several seasons – over the course of time, with a completely new cast.

Vidnyánszky Attila’s activities put the independent theatres and troupes in a difficult position. Since I was particularly troubled both professionally and morally, I felt solidarity with these artist and wanted to help them: we founded the Independent Theatre Association and provided the association with financial and professional support, and an office through Krétakör. I took on the role of vice-chairman, and we worked towards making the operation of the organization as active as possible. I took the view that effective representation of interests cannot exist without a professionally demanding and committed associative work. We gave a boost to the work in network, shared information, mobilised the membership, and watched like a hawk what happened in the cultural policy. We truly believed that we could stop the negative changes, but, of course, it was a pipe dream. Without the support of the state-funded cultural institutions and amid the cynical silence of the art society, our failure was inevitable. But at least I tried it, my conscience is clear.

The Mobile was the first TIE project developed by Krétakör that we created with the participation of actor-drama teacher Edit Romankovics and actors Lilla Sárosdi and Sándor Terhes. A fictional story and a pedagogical program ran parallel in this nearly 3-hour performance. According to the story, a vengeful student takes a recording with her mobile phone about a teacher and puts it on the internet. The issue causes huge distress to the teacher, she decides to quit her job. But then a new teacher comes, who is much worse than the previous one. How should teachers and students communicate, how should we handle our grievances, how should we work together on solving problems? We dealt with such issues through interaction, inspiring high school students by asking specific and targeted questions.