The new stage in the history of the Hungarian State Folk Ensemble reflects Bartók's legacy. In recent decades, the company has advanced to two of the three stages designated by Béla Bartók, with authentic folk dance forms and motifs remaining central to the repertoire.
However, the next step in this evolution—the deconstruction and reinterpretation of tradition—is still ongoing. Reflecting this ongoing process, the artistic director of the company, Gábor Mihályi, puts it this way:
“We know very well that we should get to Bartók's deconstruction and reinterpretation, but it is quite a challenge and a long process”
1997
Search for new directions
One of the first major shows of the period was the merry tragedy of Pikkó herceg és Perzsi Jutka (Prince Pikkó and Jutka Perzsi). Written in 1793, this Baroque musical farce—the first opera in Hungarian—went far beyond the company's previous image, both in style and in historical context.
This production demonstrated the ensemble's openness to exploring early layers of Hungarian theatre and music history.
1998
Hármas tánctükör (Triple Dance Mirror)
Triple Dance Mirror introduced an all-evening stage concept that broke away from the ensemble's previous suite-like structure, uniting the three major Hungarian dance dialects within a single dramatic arc.
- the traditions of Western Hungary,
- the Great Plains
- Translyvania
A team of eleven choreographers and dance masters collaborated on the production, establishing a model of broad creative partnership that remained influential within the company.
2000
Naplegenda (Sun Legend) - tradition and spectacle
Naplegenda (Sun Legend) became one of the company's most important milestones, opening new artistic avenues by fusing tradition with modern stage elements.
The production brought the folk dance tradition to the modern stage, drawing inspiration from Michael Flatley's world-famous Riverdance. The music, composed by Nikola Parov, complemented the contemporary spectacle.
The production
- combining world music effects, spectacular choreography, and lighting and projection effects
This resulted in a new, audience-friendly theatrical form that remained true to the tradition of Hungarian folk dance.
In 2000, Gábor Mihályi won the “Best Artist of the Season” Award from the Hungarian Dance Artists Association.
The company's approach was summed up by Gábor Mihályi:
“We certainly do not want to be a living museum of Hungarian folk dance. Tradition is not meant to be forced into a single way of processing. The world has changed a lot; the twenty-year-old cliches are no longer working.”
2010
Álomidő (Dreamtime)
The production Álomidő (Dreamtime) further unfolded the theatrical thinking of Naplegenda (Sun legend).
Six choreographers wrote the work. The scenes no longer followed each other in discrete units but instead created a continuous stage narrative. The choreographies merged seamlessly, establishing a new dramaturgical rhythm.
This method marked the modernisation of HSFE's theatrical language.
Tradition and Innovation
The most important question of the new era of HSFE was how to make folk dance sound in a contemporary theatrical form without losing its traditional roots. The ensemble's response is continuous experimentation: a balance between observing tradition and renewing the stage.
