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by Molière



"Beware ye of the leaven of the Pharisees, which is hypocrisy. For there is nothing covered, that shall not be revealed; neither hid, that shall not be known. Therefore whatsoever ye have spoken in darkness shall be heard in the light; and that which ye have spoken in the ear in closets shall be proclaimed upon the housetops."
Gospel of Luke, 12:1-3


free translation by Lajos Parti Nagy 


MADAME PERNELLE, mother to Orgon  Judit Pogány
ORGON, husband to Elmire István Znamenák
ELMIRE, wife to Orgon  Pompónia Pálya
DAMIS, son to Orgon  Béla Dóra
MARIANE, daughter to Orgon, in love with Valère Tünde Kókai
VALÈRE, in love with Mariane  Márton Patkós
CLÉANTE, uncle to Elmira  Imre Csuja
DORINE, Mariane's maid Éva Kerekes
IGNATIUS DE LOYAL, a bailiff Zsolt Máthé
LAURENT, Tartuffe's secretary Zsombor Jéger
FLIPOTE, Madame Pernelle's servant, newswoman
Lili Varga


Set design by Levente Bagossy
Costume design by Kristina Ignjatovic
Music Árpád Kákonyi
Dramaturg Barbara Ari-Nagy
Prompter  Zita Kanizsay
Stage manager Zsolt Mózer
Assistant to the director Ariadne Érdi


Directed by László Bagossy





Running time: 2 hrs 30 mins with one intermission



"Director László Bagossy reinterprets the awkward arrival of the king’s graces in a unique way. He is not content with the customary ironic gestures, or even to have Laurent (Tartuffe’s do-nothing mute servant) deliver the reprieve. Laurent arrives with a commando, the evil hypocrite is shot full of holes, then the politically misguided Orgon is recruited among the king’s faithful subjects, and finally the police action is spun into a media event by the ruling party. The topical political message is clear. There is something more at stake behind the individual hypocrisy: the political battle between bigotted conservatism and sober, liberal philosophy. The production vacillates between overt (at such times, over-explained) modernisation and a spiritedly ambiguous performance style. Sometimes the witty dialogue dominates; other times, the audience is struck with rude contemporary provocation; and still other times, the sophisticated acting techniques go straight to the heart. All of this runs the gamut both intellectually and stylistically."

László Zappe / Népszabadság

"But is Örkény Theatre’s Orgon gullible? You learn that he actually bided his time quite cleverly before the recent political change, and he attained his present lucrative position of responsibility through lengthy manoeuvring. Is he inclined to pose as a saint? Hardly in the past, since it is clear as day that he kept a lover – a sort of sexual interlude just upon becoming a widower and before his second marriage to a much younger woman. Indeed, what does the young wife still find to love in him “a thousand times over” while experiencing his notorious bigotry of late? This despicable, pushy, unctuous fellow has barely any good qualities to speak of. The production’s complex answer (which does not address every question) is the key to the story: the aging Orgon’s flying into a genuine (although unconfessed and certainly unrealised) sexual passion for his muscle-bound, macho protégé. He adheres not so much to the man’s ideals, mainly to his physical presence like a Pekinese pup. While he wishes to force his daughter, who loves another, to wed Tartuffe, he fondles the purchased wedding rings as though he were the joyful intended. In his portrayal of this clinging devotion, István Znamenák enacts with rich characterisation the sudden physiological and mental confusion that befalls Orgon, believing in the contentment-filled comfort he has found at last."
Tamás Tarján / Art7.hu








Trailer by Ákos Badits, Balázs István Balázs




tartuffe szóró-eleje kicsi


Bill by Levente Bagossy





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