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I would like to welcome our listeners.This is the Index Cultural Robot podcast, the Arutlug.I am Noemi Sümegyi and with my colleague, Eftot Benedek, we are going to listen to Ádám Rényi.Hello, Ádám!
Hello, thank you for being here.
Köszönjük, hogy bejöttél a stúdióba, és hát az az apropója, hogy bejöttél, hogy most már a második olyan színházi előadás próbáig kezdődtek meg, amely a te novelláidból készült.
Ugye írtál három könyvet, ennek a novellás kötöttet, ezeknek a címe az, hogy Erika Néni, ez volt a legutolsóbb, és volt még az Osztálytalálkozó és a Bezzeg Gyerek, és akkor ebből, ezekből a novellákból már született egy előadás, annak az volt a címe, hogy a Hosszú Élet Titka.
and this is the so-called panic of closing the door.Yes.Those who know your novels know that you have practically become an unmistakably loud author now.
Yes, but it's good that you say that.I'm glad if that's the case.
Yes, so this kind of absurd way of looking, this grotesque, which has been said many times about your novels, has now really become the mark of your name.
They compared your novel to Erkény, Ephraim Kishon, Roald Dahl, not by accident, because there is always this rejection.But you also highlighted in this presentation that there is a bit of a focus here, this panic at the gates, a kind of theme.
Your novels are played in a lot of different situations, but here it is somewhat a thematic... Yes, although in a broader sense,
It is undoubted that the problems of the middle generation or the typical situations are the focus here.
And the panic at the gate, in that sense, of course, in one-on-one, of course, there are problems of finding a partner, or the difficulties of a marriage, but rather this...
that we should stay away from the possibility, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can, as long as we can
And, of course, closing the door is not necessarily in the sense that as long as, I don't know, as long as we are decent men, as long as...
but that before we get old, before our last opportunity passes us by, and this really works in public life as well, not just
The good thing is that when you talk about this, I immediately think of two things.One is what the viewers and listeners do not see.That we are sitting here in front of each other and you are clinging to the tree.
So you will not fall down, but when you talk about this topic, it means to me, at least from the middle age, that what does the middle age matter today?Because the generational storm has changed so much,
and the chaos, that maybe today the middle ages, the 60s, 70s are considered the middle ages.Six social levels, not biological levels.And if we look at the older generation, then I dream that 20-year-olds are already burning out and struggling.
They were already the middle generation, so the time has come forward and it has been pushed out at once.
Well, yes, and it's very typical, and we use it in the piece as well, that one tries to keep the rhythm, tries to compete, and this actually makes you passive, so that simply
Maybe I'm going off topic a bit, but when I started working, the world was still like, the older you are, the more experienced you are, the better you are.
Now it's a bit like, the younger you are, the better you are, and in a certain sense, the more experienced you are, so it's very strange.And there is a kind of
a kind of forced adolescence, and in fact, this is the panic at the gates, that they don't write us down yet.We're here too, we know what it is, I don't know what.And this is really, obviously, it has a dramatic side to it,
But what has a dramatic side, usually has a passive side as well.
Especially with the tenovelas.Someone put it this way, that we live in a world of teenagers, of old teenagers.That the ideas of the older generations define who and what they want to follow.Do these also appear in your work?
Well, I'll give you an example.This is a fresh example, because it's so fresh that... These are primarily novella works, but some of the writing was born that was born to the piece.So I wrote it as a present.
And the material has been constantly changing.So in the last few weeks, there was still what was left of the original selection.Now we had to be ready for a week, because the rehearsals started on a week.
And there was an article that I wrote exactly last week, and it's such a fantastic feeling that I sat in for the first rehearsal, and the actors were already working on this material, and I knew that for a week, not that I hadn't started writing it yet, I hadn't even had the idea, but how quickly it can be formed.
And it's about an older man and an older woman who both Tinder and both lie to each other and find each other.
and there's a tinder conversation going on between them, where both of them are lying and both of them are lying about a painted, young life, and that's how they connect.So I think this fits the title very well, I think.
But in the closing of the door, I think you said it right, because we still have something to do, we still have to solve this, we still have to do it.It's in there, but when we start to lie about it, then the confrontation leads to disappointment.
So not only do they see me, I lie to myself, I'm 40 years old, and then the person sitting in front of me is also the same age, 66, like me.Let's say I'm not there yet, but I hope I'll be there soon. How can you solve the disappointment?
Because in the closing of the door, you escape from disappointment, and you get disappointment.
Well, the good thing about the theater is that if it turns out badly, it's still good.
Yes, so I think that yes, that this kind of anxiety is really full, it brings the lies of life, and only a small part of these lies are for others, the majority are lies for ourselves.I think it's much harder to start with that, by the way.
But of course, I say that there are painful and humorous things in this, and in fact, the best thing is that if it's simple, so that when we laugh at ourselves, it hurts a little in the meantime.
By the way, this is typical of all your novels, that there is some kind of lie in it, so that we try to deceive ourselves with something happy, or to think, to imagine, and then you are always reluctant to admit it.
Yes, I basically think that we are full, so on the one hand we long for happiness, which I think is a completely natural and good thing,
And it's actually a good thing that we still wish when it seems like it doesn't exist, because hope moves your life.But of course, there is a point after which you can no longer manage this thing with lies, with self-deception,
And the other thing that I think is also very typical of our world is the desire for responsibility, to be accepted, to be respected, to be loved.And of course, as Noémi said, I tend to go towards the absurd.
If you put this into an absurd, then it becomes completely crazy.But basically, I think that we are lying and we are being responsible for this.This is a significant part of our lives.
I was struck by the fact that you said that we long for happiness and that they should love us.
The world we live in doesn't give us this happiness or this love.It doesn't matter if we can lie to ourselves or if we lie to ourselves, but does the world lie or is the world really unlovable?
Well, this is a pretty difficult question, and I don't know if I can answer it.
Well, obviously, if we go into such a broader context, then the world in which we live is quite tense in many ways, and we get less good or good feelings than we would need.But... I like small stories.I think in small, simple, everyday life.
And there, too, there is the fantasy, I think it's good and normal that we strive for this. But it doesn't always work.And of course, the courage that can be developed normally and healthily, but it's hard.
It's much easier to explain to ourselves and to others, it's much easier to color a little, or to color a lot. And these are survival strategies.I think that our life is the good life, in which there is more life than survival.
But there is a lot of survival in a good life, and a lot in a less good life.
You write here that in this piece there will be stories like a book club party organized by a friendly society.Here you start laughing at the beginning, because it is certainly very funny that such a book club can run on a fence. I hope so.
I hope so.Actually, it is always important for me to focus on topics that
which is familiar, even to situations, even to an environment, so that the person can feel, or the reader or the viewer can feel that this is his world, he also encountered this, or he happened to me, or with his neighbor, or it could have happened, and then we twist it a little bit more.
Yes, it always happens in your novels that you read, and then you just go crazy.
But there is still, how should I put it, there is still... A consolidated madness.
And there is always a sentence that is very revealing, and you are waiting for that one sentence that indicates that from now on, from now on... Here is the change.Yes, here is the change, and here the story turns into madness.
And what I like about your novels is that you generate a healthy bias in people.They think, well, I'm not the only one who's a loser, unlucky, whose things don't come true.
I'm very happy that you say that, because I have this, I don't know how to put it, but I have this hope, or I would like to,
I think it's important because we want to be right in so many situations and we don't want to say or look at reality in so many situations.I like to say, I like to show that we are like this, we do this.
Yes, and not only you, me too, and you may have remembered this evil idea, but I wrote it down.Yes, that's right.
Péter Epir, not only does one think, now it's just very imaginary, you don't have exactly such a novel, that you would drown your colleague in a spoon of water, but you would drown him.Yes, so that...
I would like to free up a little bit, how should I put it, the space of illusion, that yes, we are like this, we are like this, this is there, but we are not alone in being like this.
It is an eternal question when the writer writes about stories that can affect everyone, or anyone, or anyone can be defined as a writer, he is a member of the community he writes about. Well, I think it's certain.
Of course, people say, and I like to say this, that I don't write about myself, and that I've seen others, and the story of others just came to my mind, and it's true.
But in the sense that, of course, how one perceives the environment, how one perceives reality, there is one's own personality in it.And of course, there is, I think there is, how should I say,
Romantic as well, but there is a bit of bitterness in it, or not even bitterness, but rather bitterness, because I wouldn't call myself a bitter person, but there is, I don't know, even cynicism in certain situations.
Yes.The play will be played by four actors again, and we have to cover a lot of roles, so we have to cover a lot of roles, and it is not by chance that there are two men and two women, so that all kinds of couple-related images can be played.
Partinóra, Mentes, Júlia, Lengyel, Ferenc and Dóra, Béla are the actors.I think you've already seen them, because you said you sat in.
I tried, and it was very promising, very promising.
And the previous episodes, the long-term secret experiences are already behind you.
Yes, on the one hand, my basic creators, the dramaturg and the director, Enyedi Eva and Lengyel Andor, they are still with me.Dramaturg and director?Yes, yes.And... And, you know, The Long Secret has given me a lot of good experiences.
First of all, the fact that people love it.So, I used to go to the shows, I was almost all there, which means more than 30, so that's... But it helps me a lot, it also gives me a lot, that I meet the reactions.
I meet, on the one hand, those reactions that I sit in the audience and hear what it is that they laugh at, or what it is that is so quiet.On the other hand, many people come there and talk to us and tell us why they were given something.
And I usually feel that this closeness, this that this is an experience about us.And of course, that's what I was hoping for.
And maybe, as they say about writing, that when you start writing, you write in a slightly more tense state, and then it's a process that comes to you.And of course, if I look at the works on stage now,
then this second one, these problems, these situations are closer to me.I am 47 years old, I could say that I am at the age of panic.
So I think that my own generation, I think this is what Évi said, Évi Enyedi, the playwright, that the bombs are hitting closer.
By the way, it's as if I would feel that our generation, and I myself would be part of this generation, it's as if we would take back the stage, so that our problems, our thoughts, our worldview would be spoken about, there would be something to talk about.
Well, maybe, how should I put it, I think this is usually
In many ways, even when we live in a youth-focused world, the middle generation has always been the dominant one.So we are now in a row, in many ways, and then we will go out of fashion, like everyone else. and maybe because of that.
Our life is such that it can be lived by those who are a little older, and maybe those who are a little younger can understand it, and so it means a relatively wide existence.
You are now going to a writer-reader meeting in Gyöngyös.Do you feel such an active life as a writer, that you come and go, you are invited?By the way, which one now?
Do you have all three of your books on a daily basis at this time?Yes, usually, yes.Well, it varies how active it is, so that there are such periods.Now, of course,
and I go to school quite a lot, because that strange thing happened years ago, it started like this and it's just like that. that they use my writings as a part of a contemporary literature.
As far as I know, they are short and written in everyday language, so it is easy to speak to the young people, those who have not read much of the literature.
It is very interesting that you are invited as a courthouse writer and you go to think about it.I go wherever I am invited.
And what are your experiences?Do young people appreciate what you write?Yes, surprisingly.
I am always afraid of this.
that you become a boomer.In our modern world, the generational differences are much bigger than between our generation and the generation of our parents.Now we speak a different language than our own children.
and I used to think that they understood what I was saying, that these words might seem like monarchy to them, and it was always surprising that they understood and accepted it.
There were several school groups in the theatre, and the reactions were always very positive.
This is interesting because it's about adulthood, and I don't know if it's about the company, Christmas, parental care, or even the package delivery service, but these are adult situations.And according to these, the schools can do this.
Yes, but we're talking about high schoolers, so I think they're between 16 and 18 years old, who already have a view of their parents' work.
Of course, I'm happy for him, but I'm never sure how this will work out for them.So far, so good.So it's possible that they're reading, that they're readers.Well, it's up to them.
It's a question of reading as such, it's very difficult.
Yes, I had a very interesting experience.I was in Szeged at the beginning of the week to meet a writer, and before that I was in a bookstore to dedicate.
And a young lady came into the bookstore, who told me that she was specifically interested in my novel. and I think he got a five.I think he got a five.You picked a good one.
But it's really such a bizarre feeling, of course it's good, but it's so special.
And then you apostrophize yourself as a writer and get ready for the next one, or is there such an expectation that you are now collecting the works?
Well, on the one hand, I don't want to apostrophize myself for anything, because the titles also mean expectations, and I don't want them to work according to external expectations.
I say that I like to write, I like to move in this quality, but I prefer the word that is more secure. Of course, I have plans for a book, for the theatre, and for many other things.In the coming months, there will be books
which are not fiction, but my books will appear in other genres. But this is not because I would do this, but now I have found a job like this.And you can't tell us what it's about?
But I'd love to tell you.
One of them, anyway, the other one, maybe not yet. I wrote a book about the Madány Theatre.This musical era has started 20 years ago, and it is very close to my heart.I know a lot of people from the Madány Theatre.
I am in good company with director Tamás Szites.We talked a lot and we decided to present this period in some way, and we chose it.
to make this a very human-focused, so the actors, dancers, the people working in the background, the designers of the musical sound, the designers of the decoration, so all kinds of people like that, basically a kind of life story.
which shows the complexity of the world of theatre, the constant struggle behind the emotions, the passing of time and the changes in this regard, the solving of new situations.So, while this is not fiction,
But you can still picture the struggles, the successes, the struggles, how people learn from it or not.So this will be the next one.So this is one, and the other one, according to you, is a secret?
I'll tell you that a little later, yes. So, what is the next schedule for November 30th?Yes, we will have a preview on November 30th, because the first premieres of December have already been held, but now the theatre will be opened.
The premiere will be on the 6th floor.We will have an extra schedule on the 30th of November, and on that day, Thank you for coming.
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