Metanoia Arthopaedics, established in 1990, is an outsider formation, even in comparison with other theatres that are outside the “theatrical society.” It is in no way practical or profitable. It is within this arthopaedic freedom, where we undertake the formal and conceptual construction / perfectionism which is time-consuming and risky, but it provides the singular possibility of experimentation / discovery. This is a miserably fertile external / internal pendulum motion, at the mutual focal point of being present, the unknown and the imagination. The cathartic point, which is conceived in Arthopaedialand, shines for the completeness of our existence, if we really manage to carry and deliver it; otherwise, we can do with the streamlined, practical premature baby, the dead and fashionable mediocrity. Today one finds that everywhere.
„Pero’s (Zoltán Perovics) theatre is the theatre of order, where the objects and the lights and the texts and the actors respond to one-another, like a good old Swiss timepiece. This man is possessed with theatre. This man has visions, and this man catches his visions with a ring-net and casts them into iron, into light, 220 Volts and levers, in order to give them back to the world of spirits. He is possessed from the caste of Van Gogh and Artaud.” Péter Halász