The "Hamlet Saga" includes a Hamlet-performance in Vienna (2005), a Hamlet-directing for French and Hungarian theatre students (2006) and a performance created with Krétakör's ensemble in 2007. In this latter called hamlet.ws, I directed three actors of the Krétakör Theatre Company company József Gyabronka, Zsolt Nagy and Rába Roland. Zoltán Ernő Rubik composed the music. The basic formula was the same as the original version in Vienna, but we had fine tuned the expressive devices. We always staged the production in classrooms very close to the students - or sometimes to the grown-up audience. At certain points we spoke directly to them, involving them through interaction. I initially met Márton Gulyás as a fan of the company. He later became a volunteer and hamlet.ws was our first project together. It is an outstanding fact - what I am extremely proud of - that András Polgár used this production as a model for the Classroom Theatre Project which was set up with the aim of bringing more theatrical productions directly to students.

We traveled to Ireland with Krétakör Theatre. We spent two weeks in Dublin, performing BLACKland and Seagull. During our visit, I taught a week long workshop for Irish actors. It was an exciting encounter, we perfectly understood each other even Ireland being so far from Hungary. The landscape, the Irish culture, Francis Bacon had a great impact on me. Ireland is a great place.

We organised a camp in Komárom's Fortress Csillag for university and college students from Budapest, Komárom and Marosvásárhely and some non-student participants. A total of 70 drama students, Tímea Csóka (Krétakör's press officer), András Éltető (technical director) and myself spent 17 days camping in the woodlands of Komárom. Back in the day it was Ivan Nagel who opened my eyes to a world beyond conventional theatrical training. Now it was my goal to show young people as many different angles and possibilities as possible. We analyzed, practiced, and participants had the opportunity to come up with own creations. In our reflective framework we examined the the question of free will and the responsibility of theatre professionals. The gates of the camp were open, anyone could leave, but once you left you were not allowed to return. It was at this camp that I met Péter Fancsikai, who has since become my permanent colleague at Krétakör.

Norway was the Krétakör Theatre’s next longer travel destination. We spent two weeks in Bergen, performing Seagull and Peer Gynt (Part 1., Part 2). During our visit, I taught a week long workshop for Norwegian actors. The Irish and Norwegian experiences proved to me that we needed at least two week-long common work for creating a professionally meaningful encounter, short guest performances were simply too short for that. Previously, we traveled a lot and spent only a few days at one place. In Bergen, we had enough time to arrive - literally speaking. We had a wonderful excursion in the fjords. Spectators were quite restrained, but nature was a compensation for everything.