► Our next "victim" is Miklós Kékesi, who also told us about a mysterious theatre professional gathering.

𝐏: What are your responsibilities and what kind of activities does that mean exactly?
𝐌: I'm the artistic secretary of the Proton Theatre, I coordinate the actors with their theatres and film works for our productions. I negotiate their daily schedules with my colleagues to ensure that they are always on time when and where they need to be. 

𝐏: How much work do you have to do to negotiate before fixing a production? I suppose it depends a lot on the size of the actual performance crew.
𝐌: The Proton Theatre's productions feature 'branded' actors, which also means they are very busy. Hectic daily schedules, sometimes it's difficult to get even a rehearsal together, not to mention a performance or a tour abroad.

𝐏: How long have you been involved with Proton Theatre? How did the "meeting" happen?
𝐌: The Proton was about 1 year old when I happily joined the team at the request of Dóra Büki. Every month there is an occasion when the artistic secretaries of the theatres meet in person at one of the theatres. After discussing the current, unpublished news, the joint work begins, and we 'fight' for the actors. I met Dóri Büki at one of these events, who at the time was coordinating the artists of the young and small Proton Theatre. I was the secretary of the Új Theatre at that time. Our company member was János Derzsi, and Proton was then preparing to go to Australia with HARD TO BE A GOD. Jani was due to have a dress rehearsal at the Új Theatre during the tour, but there was no question of me arranging this trip... I think I must have been with Proton in spirit by then. Dóri's request came shortly before I was forced to resign from the Új Theatre because of the ominous change of director.

𝐏: What does such an all-secretaries meeting look like?
𝐌: A face-to-face meeting is more friendly and thus much smoother in resolving the many conflicts. There was a time when I was following and managing the daily schedule of nearly 200 artists at the same time. Every month we meet at a different theatre, for example, at Christmas at the József Attila Theatre, and we have even had a little surprise show. :D These meetings are an important part of the relationship between theatres. The directors know each other, they are on good terms, but there are many things that the artistic secretaries can work out between themselves so that everyone, but especially the actors, can be happy - and of course the theatres can do well. 

𝐏: Is that your main job or do you do something else?
𝐌: I work in - for me and I think for the audience - 3 top theatres of their kind. Value is important to me, so I am selective about who I work with and for what kind of production. In addition to Proton, I consult with artists and productions by Játékszín and PS Produkció. I work with the best, most up-and-coming artists of almost all theatre genres. 

𝐏: Which is your favourite and most important Proton performance and why?
𝐌: I love all of Monori Lili's performances.  Since I used to work at the Lipót, I was most touched by DEMENTIA, and of course by DISGRACE, ICE, IMITATION OF LIFE, HARD TO BE A GOD and all the others!

𝐏: What is the biggest difficulty in your work?
𝐌: None, or at least I don't experience it that way. If I can mention one, it is the undignified and humiliating insecurity of independent theatres, which is an all-encompassing difficulty.