In a 6,000 square meter warehouse in Budapest, divided into 40 performance spaces on several levels, myth and acrobatics meet in an experience that challenges any traditional definition of the stage.
On one side lie the ruins of Troy; on the other, Carthage. In the center, a dark labyrinth; above, gods descending among men. The aesthetic? A mix between steampunk dystopia and Berlin cabaret.
This is Walk My World, the latest show by Hungarian director Bence Vági, which has become one of the most sought-after attractions in the Hungarian capital. Half modern circus, half immersive theater, with elements of dance and cabaret, it is considered the largest “immersive” theater production in Europe.
Theater without a stage, without a safety net
The spectator does not sit in a chair facing the stage. He wanders. He enters a neon-lit bar where two acrobats twirl on tightropes; climbs a spiral staircase to a goddess hanging by her hair over a pool; gets lost in corridors where monsters drag victims into the darkness. There is no dividing line between the audience and the performers.
Over the course of two hours, 26 artists – each with their own story – perform simultaneously. The main inspiration comes from the fourth book of Virgil’s “Aeneid”, with the tragedy of Dido and Aeneas at its center, but the narrative also includes other mythological figures. Some scenes last over 30 minutes, others only a few moments. Some are solo; others combine jugglers, aerialists, gymnasts and dancers.
From communist Hungary to the international stage
Vági, founder of the contemporary circus company Recirquel, grew up between two worlds: communist Hungary and West Germany, where his family moved after his sportsman father fled. His first contact with the stage was the circus – an art form encouraged in Soviet countries as ideologically “safe” entertainment.
He then studied at the Liverpool Institute for Performing Arts, co-founded by Paul McCartney. At the Edinburgh Festival, he was influenced by the British company NoFit State Circus, which blurred the line between audience and performers. From there, the idea was born to create a new form: “cirque danse” – a fusion of the freedom of dance with the superhuman abilities of circus.
His company found support at the Müpa Budapest cultural center and gained international attention with productions such as IMA (Pray), acclaimed in Edinburgh, and Paradisum, currently on tour.
Art and politics
Half of Walk My World's budget is funded by the Hungarian government, which has raised questions about artistic freedom under Viktor Orbán's rule. However, Vági insists that no restrictions have been imposed on him, citing the play My Land with Ukrainian artists, which returned to Budapest after the outbreak of war with the Ukrainian flag on stage and fundraising.
The play's interwoven narratives also feature LGBTQ+ characters, including a touching duet between Trojan soldiers Nisus and Euryale. Vági is open about his identity and says he would flee the country if someone dictated his artistic content.
A giant emotional machine
The complexity of the production is mind-boggling. Each performer follows a precisely programmed itinerary, aided by a smartwatch hidden under their costume to capture cues and timed entrances. In the finale, everyone converges on a spectacular stage with a “Russian swing” – a giant structure that allows acrobats to soar high into the air in a dizzying sequence.
Then the rhythm changes. The tragedy of Dido and Aeneas is played out in the air, in a painful dance with ropes. For the first time, the audience stands still. There is no knife, no pile of wood; Dido falls into the labyrinth while Aeneas disappears into the heights.
In this contrast between physical spectacle and emotional intimacy lies the strength of Vág’s vision: a theater that is not viewed from the outside, but experienced from the inside. He defines “immersive” as the moment when the reader enters the world of the book – as in “The Neverending Story.”
And in Budapest, this world now has an address. /GazetaExpress/
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