by Walter Bilderback, Blood Wedding Dramaturg
Director Csaba Horváth began his career as a dancer, performing Hungarian folk dance before moving on to contemporary styles. He later became a choreographer and finally a theater director, developing a unique style. “The folk dance, especially when you encounter it as young as I did, when one is susceptible to all things, lives for a lifetime,” he says. “It gives you ammunition from which you can move and transform everywhere movement, choreography, dance, and some kind of way of thinking.” This background also carries on in his long collaboration with composer Csaba Ökrös, who (following the inspiration of Bela Bartok and Zoltan Kodaly) draws upon Hungarian folk music as inspiration for his melodies.
As a director, Horváth says “the most exciting thing in this game is to handle the proportion of language and movement.” He begins his preparations with some general ideas for a gestural system inspired by his reading of the piece. “I’m looking for solutions, decodings, which bring forth the essence of the work, the essence inherent in the piece.” But the performance is shaped in rehearsal, through working with the specific actors he has in the room with him. “I’m always looking for the physical toolbox and trying to use it in the most exciting way. But it all depends on how much the material needs. Getting to know this is like stepping on a minefield. But that makes me excited, perhaps because working with the body is more subtle than the traditional acting actor, and requires theatricality. It’s harder to lie with your body.”
Horváth’s productions always live music (usually original), often played and sung by the actors. This will be true with the Wilma’s Blood Wedding as well. In the hands of his actors, musical instruments can also become objects and persons, such as a tree or a baby. Props are rare in Horváth’s staging: they are usually absent or indicated by gesture, but when they do appear they are likely to be used in unusual fashion: like musical instruments, they can sometimes become characters as well.
In shaping his production of Blood Wedding, Horváth remarks that the play “takes place in a closed and strict environment, where traditions define the life. The story is a sweeping love story that turns against these traditions, and culminates in death. The passionate poetry that characterizes Lorca’s drama is very close to the theater language I like to do. This language builds on a physical presence and the music of the actors outside the text. In my work, I always strive to make the gestural system that I compose bring the audience close to the poetic depths of the text.”
With his sensitivity to movement, gesture, music, and rhythm, Horváth’s work on Blood Wedding is very much in the spirit of the play, and of the approach Lorca himself took when he directed its premiere. Describing Lorca’s work as a director, his biographer Leslie Stainton writes: “He brought to the task a painter’s sense of composition and a musician’s understanding of timing. Rhythm—the tempo of the performance—was crucial.” From the accounts of the actors and observers, Lorca treated Blood Wedding like a musical score in rehearsal: Stainton says “he focused on rhythm, timing, and sound.” This is also an accurate description of Csaba Horváth in rehearsal for the Wilma’s production.
Blood Wedding runs at The Wilma Theater starting Oct. 25 – Nov. 19. Learn more about the production at WilmaTheater.org/BloodWedding.
Explore Csaba Horváth’s work with the Forte Company:
Crime and Punishment