This article explores a single, yet generative question within the framework of applied
theatre studies: what genre-theoretical, dispositif-critical, and reception-historical
insights emerge when the relationship between the platform theatre model theorised
by Tibor Debreczeni and Antal Rencz, and the Zöld Szamár Theatre is examined through
a single Philther reconstruction. The analysis considers whether the two formations
share key characteristics: (i) the capacity to continuously theorise their own practice;
(ii) an understanding of theatre-making as both a pedagogical workshop and a form
of social activism; and (iii) an ability to synthesise agitational genres of working-class
culture, the emergent art of movement, and the visual arts that had become integral
to scenographic language. The case study of the lyrical oratorio Perlő ének (1971)
serves as the central site of this inquiry.
