„I am not really a fan of the interative theater. I don’t like either when we, the audience have to act in the play. When while watching the show, we have to answer, react on the actor’s suggestions. Despite this fact, I was politely walking in the Zsambéki Színházi Básis terrain to all the apparently well chosed locations of the „Violation”. I was submissive to the mute but obvious clapping hands with whom, they collected us in the tunnel – and remembering it back, I felt inside very good.(...) The performance which is planned to go for a tour in Visegradi countries is not only dealing with the violence who is raising up more and more nowadays but also attacks us with a focus on the princip of neverending circle of the political caprices which happens right under our heads. And even though, we, as an audience, finally survived in that story, don’t doubt that we are all the time and everytime concerned in our real lifes"  read more​​

​

Judit Csáki, Magyar Narancs, 7th July 2011



“We can easily laugh during the prologue, but not for a long time because we even didn’t find out and we are lead by some “estate agents” to the bush. On the way, we are meeting Titus Andronikus (Terhés Sándor) and his daughter Lavinia (Tóth Orsi) in the leather coats and sunglasses. The agents makes us going more and more into the deeper wood, the sun is slowly disappearing, somewhere under the bush, a TV promotes business  with new lands, we can see a leg of a recently dies man beside. Suddenly, in the agent’s hands appears the chains and they are more and more strange, start to shout at us and gives orders. And this principle isn’t unknown to us with our trust – first, they smile and then kindly take us to trap, here to the narrow tunnel where all of us are standing, body on body, powerless, attacked, threatened from the top. All this play, on a mouse and a cat, where we feel the same as the main character, a Goth queen who tries without success to save her son from execution (Gubík Ági). We feel anxious because this situation provokes in us a common social feeling. We are not only understanding but also feeling the powerless and fear of the queen and we can remember it days after the performance ended. As a concept, this is the most vulnerable point of the director’s work Lucie Málková. To be honest, “Violation” is not and innocent play. The girl, standing next to me confirmed that she was shocked during the scene in the tunnel (when they took the Tamora’s son from the audience and shoot him as a dog). The girl’s boyfriend  then added that now, he has some more concrete idea about “what was the holocaust about.” read more​​
​

​Miklón Nagy Gergely, revizoronline.com, 29th June 2011​