Moral deficit: A tender and what’s behind

Done, announced – even I think it was always obvious who will get Trafó, but if there’s someone hates publicity, hates public competition and afraid of straight questions, than why (s)he wants to be the director of a contemporary, open theatre?
How perfect it would have been, if Yvette Bozsik and her stuff win were met with a warm welcome  from those whom,  with some kind of valid or without any reasons were afraid of her being a new director.

At least she should make courtesy, spread fear, calm down, explain and make her purposes clear. If she would face the whole industry ( not only the dancers lobby, who were standing behind her, and they don’t really care about losing the precious, diverse, and open to people, contemporary Trafó), and not hiding, befogging, while she acts like a victim. No. Because her and her crowd thinks that this is their business, there and politics business, only the business of powerful decision makers, and not a public cause. That this is how it should be, that this is normal. So she doesn’t even pay attention on appearance. That’s what we call a moral deficit.
Unfortunately, we did not have a chance to have a peer review of the winning entries – in the absence of understanding -, but we can make it clear, that Yvette Bozsik herself was providing all the evidences in the past ¾ year about her handicaps – which could be a so hard, and so prudent work to do- causing her distrust. Let’s go through the occurrences chronological. Worth it.

March 2011: Géza Szőcs makes Yvette Bozsik’s name as one of the possible contestants to be (one of) the heirs of Trafó. Will never find out if he was only improvising or not, however Bozsik was not protesting at Szőcs against his announcement – that what he is doing, they did not cross-checked before -, but through her manager, Béla Szemán, resentfully attacks media and journalists, that they are asking questions based  on a suggestion made by the Secretary of State.
From this point, Szemán is the shield, trumpet, face, garrison of Bozsik, who dares everyone. Of course sometimes Bozsik herself also answers questions: friendly questions, friendly answers, but all the time she act as a victim, as she was put into a coat stealing issue (not by the cultural government, but the press), and continuously disproof all the news regarding Trafó.
And what a surprise, after 6 month, suddenly even for herself, accepting the pressure of the “dancer society” ( was not known before…) , she applies to be the managing director of Trafó, even though she wants to spend more time with the baby, but what she can do, if the whole “dancer society” wants only her, no one else. She remains unreachable for the press (saying she is too busy), even they have several questions about her new decision. 

This is how the 1st of December comes (closing date of the tender), the main controller (István Tarlós) just erases her name from a petition against Dörner-Csurka [Új Színház], and so she became immaculate to win the post.
The “Independent Association of Theatre and Dance Workshops” invites her and the other re-applying contestant György Szabó to an open contention regarding Trafó, but Bozsik denies the invitation. There was a whole day conference on Trafó issue in Ludwig Museum, organized by civil sector, she didn’t appear. However Béla Szemán appeared, and made a stump, and mentioned that the “Yvette, Csaba Horváth and Szkipe [Josef Nadj]” triumvirate will apply for Trafó.
This information was published by Népszabadság the next day and Bozsik asked for emendation – which was published by and Fidelio immediately -, saying the journalist did not correctly quote the words of Szemán.

The day after, the whole, uncut speak was published to internet, justifying that the journalists (Noémi Herczog and Tímea Papp) was right. None of Bozsik or Szemán apologized.

As Szemán mentioned József Nagy [Josef Nadj] (Szpike) in the triumvirate contestants (later denied) for Trafó, and Péter Gemza (part of József Nagys group) is in the jury, I protested at the Budapest City Government because of conflict of interest, so the 19th December audition was skipped. Total chaos. In the beginning it seems, they delegate a new member. Kata Csató, the president of the Independent Association of Theatre and Dance Workshops, was mentioned, 2 days later the 7 member committee shrinks to 6 members only. Gemza was the one missing.
Meanwhile I received an answer letter from the government of Budapest: “The procedural provisions applicable to applications in the performing arts organizations in the promotion of employment and specific rules for the 2008th Act XCIX. Act in respect of members of the jury does not require conflict of interest rules”
At the conference held at Ludwig Museum, Szemán also mentioned, their entries will be published the day after the audition. György Szabós entries was online the next day, 22th of December, Bozsiks entries not. Six days later, at the end of a very interesting interview (“want to make Trafó more open” an interview with Yvette Bozsik and Csaba Horváth,, I found the following, short ending: “Yvette Bozsik (…) s entries full wording will be published after the decision made by the new director…”
At the conference Szemán was protecting the decision makers when he said they didn’t want to publish the entries too early. This is partly acceptable, with some modifications: they should wait only till the audition finishes, and to protect the decision makers, but to protect the contestant’s ideas from each other. This should be the interest of everyone, to have an open, wide, professional conversation, or even professional argument, to make soothing cultural decisions.

After 2012 the 16th of January, when the Communications Board of Mayor’s Office published the announcement of István Tarlós (Major of Budapest), saying “based on the professional committees opinion, and majority of votes” the Managing directors position of Trafó Kortárs Művészetek Háza to fill by Yvette Bozsik from 2012th From 1 July 2017th June 30.
The winner entries were published the same day on

written by CSABA KRÁLL