After twenty-seven years, László Márton publishes three plays in his new volume of dramas, in the afterword of which he also explains the long pause: the ideas on which the plays are based have been matured for a long time, but it took time for them to become mature in the dramaturgical and dramatic poetic sense of the word.
In the play Démosthenés, or the fall of the Athenian state, the author followed the method of the old playwrights: based on the available ancient sources, he gives a period picture of Athens between the reign of terror of the "thirty tyrants" and the Macedonian oppression, the short period of restored democracy, and the hair-raising or blood-curdling public affairs. This is also how the portrait of the well-intentioned, but increasingly isolated politician, who fled from the extremists seeking his life and ended up committing suicide. he goes out into the world to learn to fear. As the plot unfolds, the question takes on an increasingly important stage function: what should we be afraid of? What is the essence of courage in a world where, in the most ordinary situations, any of us can have compelling reasons to fear?
The Roman Hullazina only deals with real historical events: the exhumation of the corpse of Pope Formosus, his conviction in a conceptual trial, and then the execution of the corpse (!), as well as the reign of Theodora and Marozia, known as the pornocracy, i.e. the "ruling rule". With his play interwoven with fictional elements, László Márton is connected to the line of "humanity dramas" of Hungarian literature, renewing the legacy of Imre Madách or Sándor Weöres with inventive solutions.