’The  actor  starts  to  live  the  life  of the  Nazi  leader.  Sometimes  he  is  an adolescent with homosexual  tendencies, sometimes  a  proud  soldier,  Hitler  or Pater  Kun,  a  frightened  man  or  a  mighty dictator,  a  refined  intellectual  or  a  bestial  killer. Harsányi is fantastic. This young man has a hundred faces and voices and I can really believe he is old and cruel, and selfish and cowardly. I really believe that he hides his  fears behind  the surface,  that his wounded soul is drunk with power, that his uniform makes him strong.  I am  frightened of him because our everyday reality  is  presented  on  stage.  Each  movement,  each word is genuine. Each gesture is impressive. There are no unnecessary movements, no false words. I can see only  the Nazi  leader  on  the  stage, who  has  silenced his  conscience  and  truly  believes  and  tries  to make us believe that he did not act against God, did not act against  humanity,  and  he  finally becomes blessed  in front of our eyes.’
(Simon: Farewell of  a  Lunatic, Erdélyi  Riport, 10 April 2008)

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