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Sounds: Miklós Erhardt, Gábor Erlich, Ádám Jeneses, Szabolcs KissPál , Richárd Melykó, Eszter Őri
Thanks: Gergely Bödök (CLIO Institution), Ábel Kotormán, Benjamin Péter,
Zsuzsa Toronyi (MILEV), Hedvig Turai, Vilmos Vajdai, Karmen Veress
Used audio inserts in the order of utterance: Gellért Ádám (M5), Anka László (Kossuth Rádió), Salamon Konrád (M5), Magyar Filmarchívum, Romsics Ignác (InfoRádió), Bödök Gergely (M5), Euronews, ATV.
Music used in the order of utterance: Warszawianka (Russian Red Army Choir), Warszawianka (Tabernacle choir), Warszawianka (Magyar Néphadsereg Ének- és Zenekara), Klezmatics: In Kampf, Pártos Ödön: Yizkor (Yael Shachar – brácsa, Itai Daniel – zongora, Kol Hamusica Radio), Warszawianka (Monsieur Jack – zongora)
The idea of making the Blood/Witness Documentary audio drama first came to my mind at the end of 2018, when some of my colleagues and I started thinking about an exhibition for 2019, the anniversary of the Soviet Republic. I realized then I wanted to deal with the memory of the hundred years old historical events and the contemporary and current history of the Monument to the National Martyrs in Budapest. All the more since the reconstruction of the monument that was inaugurated in 1934 and removed in 1945, was also expected this year. Given that the collective memory of the age of revolutions is sharply divisive and the acts of terrorism committed during the proletarian dictatorship are still fraught with many unresolved and unresolved contradictions that blame the contemporary Jewish community for the atrocities, openly or barely. the role of the community and its nuanced attitude towards historical events. In this way, the work was given a triple structure, the first part of which revolves around the historical context of the fall of the Soviet Republic, most of all by recalling articles and press materials published in Equality. The second part is the reconstruction of one of the episodes of white terror in Budapest, which is the processing of a contemporary handwritten confession kept in the Hungarian Jewish Museum. The shocking power of the document recorded by the National Office of Israel as a protocol lies in the fact that although this atrocity did not end in death, the dramaturgy of the events described reveals exactly the steps of collective responsibility and the accusation describing the history of its gradual deprivation. The third part outlines the circumstances of the erection of the monument at the time, and then its restoration today, and the related - even a hundred years later - still contradictory, more accusing, positions.
In the end, the above-mentioned exhibition did not materialize, but the historical exhibition entitled OSA From Harvest to Harvest - Hungarian Calvary offered a suitable context for the execution and presentation of the work. Although the opening of this exhibition was postponed several times, it was finally realized at the end of 2020, and on the occasion of the finale, which closed its three-month opening, the sound game was presented in support of ZSK2028, in collaboration with Forbidden Radio.