 Thank you for the greeting words and for Bogato Shadowshi, not only interpretation, but also the organization. And in addition to supporting national international cultural institutes, it is equally important for us to know that we have other supporters who help us get Roma theater into the mainstream. And those are theater critics who can give us feedback, where should we develop, what is what we're doing good, and they also help to spread the word and that our work is being heard. We may have, so it has been following our work for years, and while many critics still approach Roma theater primarily as a social construct, it is important for us that Noemi has always approached us from a theater professional perspective, and that is very important to us. We were also very happy that she wrote the introduction to the drama book, and we are very happy that, of course, Building Future is another huge step, and although she is taking care of her little child, she is here with us, and please share with us your thoughts and message about the forthcoming drama book. Thank you very much. It was nice to hear that theater critic is connected to mainstream. It is not often heard, and it was really nice to hear, to commemorating also on Alenja, because I'm sure she would be here. When we were raising money for this volume together, we had to articulate why we thought it was important to publish it, and at the time I highlighted one of the many competing reasons. One of the typical paths to theatrical legitimacy in Hungary is through the publication of drama books, which independent theater really needs. So I very much hope that this volume is published, will help this theater company, and not only them, but also our fellow Roma citizens. As already said, I'm a theater critic, and I like to talk about the dramas, but first I'd like to talk about the theater company, because I think if someone is following online this today, book events, maybe they don't really know the work of the theater company. It is important that since 2007, the theater has been helping Roma citizenship through various means, and has been publishing drama texts for three years now. In this theater company, Roma and non-Roma people build a team, and I hope that this openness, this respect for diversity is highlighted rather than ethnic homogeneity and segregation, and that it will have a positive effect on the majority in Hungary. If there will be Roma actors in the mainstream theaters, and also Roma plays, and if Roma creators, drama torques, and also playwrights can have a say that is really important, and it is not only because the independent theaters, but also because of these drama books. If somebody would want to write about the independent theater, then it is important that it would be highlighted and would have an own chapter in this book, and this chapter would certainly include also how easily they adapt to the most varied circumstances. For example, during the recent epidemic, which happened to be rather unfortunate for the theater, they have done so if only because they have always been keen to live in closed, clear theater spaces for untrodden paths. And they are doing the same now in frivolous and maskless Budapest-worth theaters are forbidden to ask the audience for immunity passes while they are marketing a safe open-air performance that punk opera entitled The Frog-Tales. In this context, I have to tell you that when I asked Rodrigo Balogh if it would be a problem, if my four-month-old started making noise during a performance reply, making noise is never a problem. Why am I telling you this? Because there aren't many baby-friendly performances in Budapest today, so the company has adapted to the needs of toddlers. But they also adapted to the conditions of a cautious opening in the summer of 2020 and they presented their play Fallen Up Village Day on Gallaud Hill because at the time no one wanted to be in a closed space. The script of this performance is included in the book, as already said. But they were also among the first to adapt to the circumstances of complete lockdown. At the time of the first wave at the beginning of the lockdown, they presented an online premiere in Hungary at practically at the same time as the Urkin Theater. The play is called Kosovo Mon amour, a work by Amon Tenegrin and a Belgrade author about the war in Kosovo and it was launched and presented in Berlin and also in Hungary. And it is about the war in Kosovo and the biggest genocide against the Roma since the World War. The script is also included in the new volume. And finally, if there was such a study on the present of independent theater in Hungary, it was certainly mentioned the company's educational activities. I would like to recall the time when in 2013 when the independent theaters Pergint Fellowship Youngstaff wrote a letter to the Kato Nyosjev Theater challenging the portrayal of Roma in the production of gypsies. I believe that in a well-functioning theater, there would be many similar debates and we could discuss these issues together without any tension. In any case, the independent theater is doing a lot to ensure that these issues are not the only ones that exist just when we look at how the mainstream, how mainstream society is portraying Roma so that the same people are not always the only ones who get a say on Hungarian stages. They do a lot, for example, by staging and helping to stage Roma's self-representations. The Roma Heroes Festival, originally called Storytelling Festival, which has been running since 2017, is a part of this and has already brought together a number of European Roma artists and theater companies. The independent theater selected the place of the predecessor of this volume. The first Roma Heroes volume from the program of the festival in 2019, and it was largely from here that the text for this volume were selected. The Voivode, this play with the traits of a folk play, a distant relative of Fiddler on the Roof, written by the Russian director Edgar Edge from the 1968 novel Karavan by the Romanian Zakharia Stanku, originally titled Gypsy Heaven in the early 90s. This is a rare dramatic tribute to the Roma victims of the Second World War, or described by the only Roma theater company in Romania, Giov Lippen, this feminist work entitled Who Killed Somnagranca Tragedy based on a true story, both poetic and beletic, about the first Gypsy girl in Sepeys who went to school in Jeans, the only one in her village. For the European family, a piece born from a collaboration of artists of different nationalities from collective improvisations, the text of which was finally put together by Richard O'Neill, who has been invited to all the Roma Heroes festivals so far. In contrast to the place in the first volume, this book no longer contains monodramas but plays with several characters. As Tomas Segati, the theater company's education expert, writes in the foreword to the book, this gives us the opportunity to present very different perspectives. And learning about perspectives different from our own is essential in an increasingly polarized world. When we ask ourselves honestly, are we able to honestly see if the other person is right? Can we think about what the other person might be feeling in a given situation? Many of us would find it difficult to answer these questions. The key to our personal well-being lies in understanding and letting go of the other person. We can find our own path by understanding the circumstances of others people's choices. I wish for all readers present and following the event online is that they learn about the circumstances of others choices through this book. And I wish all the fun reading the book. And next time I hope we will see some of these plays on stage, on mainstream stages, and that they were performed by a colorful and very diverse team of performers. Let's see the actors. Thank you very much, Noemi. We will do our best to live up to the picture you have painted of us. After what others have said of the mainstream, it is important what we are doing and why we are doing it and how we got to this volume that you can hold in your hands. Rodrigo Balog, the professional director of our theater, will share his views. Thank you for being here. I'm really glad you are here. I would really like to hear the actors, so I will be really short. This miracle started six years ago. I should be holding four volumes because we have another one, monodrama volume, which Noemi also mentioned. So just imagine we have four different volumes. Roma Hero is little known that this was the title of a curational concept written in 2015 by the staff of the independent theater to curate the drama and theater section of the European Roma Digital Cultural Archive, commissioned by the German Kulturschriftung. And our pleasure was to be working in the curator section. And not long after, we were tasked with exploring a previously almost completely unexplored area, the present and past European Roma drama in theater and also who did what and how are they involved in Roma theater. After that, we continued to work separately because we wanted to present it to the whole world. And as Noemi also said, in 2017, 2018, we were called International Roma Storytelling Festival and we have three of the five ones in them. And in 2019, 2020, we developed into a chamber theater festival. We had a really big path with all of these works because we had to pay attention that this can be included in the educational system. We had two ways. First, it was the non-formal trainings that trained trainers had actually workshops in schools, in secondary schools, and it is very, it's going really well. But we also wanted to have university and college educators have these materials. And two times, we had interdisciplinary course trainings where 13 universities we could teach and also we have this course in Romania called Art Hub and also two universities in Romania joined us in this interdisciplinary course. Exhibitions of portraits of the authors have been held and these drama books have been published, these beautiful books. April 2021 was a month of mourning. You have mentioned Anna Lenja before, who has been working since 2011 with us. She translated and proofread many of our plays and she was also the editor of the monodrama volume in Hungarian, but we have lost her and also Igor Prikunov this year, director of the romance theater in Kiev, who was also one of the authors of the play, The Voivode. And now, may they rest in peace and may God bless the authors, translators, proofreaders, editors and nearly 30 other staff members who put the best of their knowledge into this volume. Without wishing to be exhaustive, I would like to mention Victoria Kondi and Edina Sabados who accompanied and assisted the process from the receipt of the manuscripts to the end of the printing process. And thank you, thank you very much for your work because it was wonderful. I would like to highlight also Marie-José Chix, who was also the editor of two English language volumes, Peter Krastev, the translator of the play, The Voivode and editor of the Hungarian volume. Hi Peter. And I would also like to mention who is very important to me, Norbi Ola, who designed the covers of both volumes. God bless the contributors, the supporters of this volume and those who will read these books in the future and buy them. God bless cultural consumers and God bless cultural workers. Thank you very much. Thank you very much, Rodrigo. And I think we have beat around the bush enough because we all came today to have an insight of what is included in this drama book. In the event today, we will have some video excerpts of those plays that have actually played these works. And we also have actors with us who will play some excerpts of these dramas. And we will start with Huckild, Somnagranca, Júvlipen brought this to life, Mikhael Dragan, who was here many times in Budapest. And he has also monodrama in the previous volume. And also Mikhael Dragan Zita Moldovan, King Júvlipen Kirae translated it into Hungarian and into English. It was translated by Diana Menó. And the question arises, who has the responsibility that a Roma girl in the countryside who only wants to go to school commits suicide? Who is responsible for that? We will start the focus video and then one of the youngest actors will show an excerpt of the drama. Ladies and gentlemen, we present the enormous drama of the poor Gypsy, too smart for the miserable world in which she was given birth. They say that the family brings you down and the family destroys you. We present to you step by step the funeral of Somnagranca. The Gypsies from seven counties have supported funeral financially. We're broadcasting live as Somnagranca is being escorted on her last journey with fanfare. We have many guests. The most important men in Saipis will join us. And he has already arrived in the Voivode of Saipis. Please tell me, why is all this splendor miss? We are not a laughing stock. The politicians came and we did our duty. We gave them our memories, kibbles, teapots, red flowers. Are they filming? Yes, yes. Please film the wreaths, too. We have everything prepared. Yes, we're filming them. Tell me, why do Gabor women walk behind men? The Gabor women are very honest, very worthy. They have beautiful braids that fall on their back, not like others. Why did this girl Somnagranca have to marry and give birth to so many children in poverty? If you have to make a decision, would you rather let a girl die than let your girls go to school? Are they filming? Yes, they are filming. I swear on what I hold dearest, God shall take me if we will not keep our girls in school day and night. It happened because of me. It's my fault only. I urged her to go this way. She was begging me to speak to her father, to convince him to leave her alone, to go to school, not to nag her about marriage, to let her find her own path. Why? She wanted to escape the gypsy ghetto. She was longing for a different way of living. She wanted to escape poverty and squalor. I promised her that, but I couldn't keep my promise. What remorse did I feel from what she wrote on the wall? It's my fault. If I had kept my promise and talked with Gruncia, maybe we could have prevented this tragedy. It's solely my fault. She was a sensitive kid, my daughter. My daughter did not bother anyone, 17 years old. She had no business with men. She was decent because this is how I raised her. I did not feel guilty. I do not feel guilty. That's right, good man. You are right. Why didn't we let her go to school? We did let her go to school. But where could we have gotten all that money from? We only wanted what's best for her. To tell the truth, our girl was a little twisted. The doctor told us that she was taking pills. She suffered from an illness, but never talked about it. We saw that she is upset by something, but we didn't know it was that severe and that she would go that far. Now, I'm grateful that all our neighbors and relatives helped us bury her with dignity. White bridal dress with a varnished coffin made of oak wood. As I told you, she had a heavy heart because... because... What is it called, woman? Depression. Right. Our daughter had depression. How should I put it? It doesn't matter whether some know us, Roma or not, she was a normal teenager. It happens to them also. Rarely, but it does. Do not forget, there are always exceptions. I still cannot understand why she did that. Never forget that day. I want all of you to ask yourselves, who killed Somnagrancha? Or wait, no. Ask yourselves rather, why did Somnagrancha commit suicide? Look. Look at my father's hatchet. How long he's been looking for it. He never thought it was up here. I forgot the dye bottle open. If the little one steps on it, she'll be wet from head to toe. Hyper as she is, I'm sure it's gonna happen. Sunita, my little sister, what a relief it's been to watch over you all night. You gave me strength. What a big hand I have. Look at my feet hanging over the floor. It's beautiful here. I didn't expect that. No more worries, no more longing, no more fear, they won't let me go to school. My body feels light and one with everything else. What's the chair doing upside down? Did I push it? So what am I doing up here? No, no, it ain't no good, it ain't no good. I must focus, scream for help, but it has to hear me, mother, father, little sister, brother. Can't any louder cause my neck hurts. What, I'm still here? After all, I'm glad they didn't catch me. I'd have been ashamed. The plan was good, it didn't fail. Why stay here? School was over for me. The priest thought I could do it, I had to go back to the village. You can't escape from here. That's how they bury me in a white wedding dress and a big coffin. I wanted real bad to go to high school in Miracura, Kuwait, but I was sick of the last row in the classroom. Forgive me, mother, forgive me, father. If you love me, you'll understand. Stop looking at me like that. Please, beat me, kill me if you want, but don't look at me like that. There was no place for me on this earth. I was caught between two worlds and both gave me nothing but suffering. Is there a place for girls like me with a school as good as fresh bread? Here there was no school or bread for girls like me. I've ended up hating who I was, hating the poor boy I had to marry, hating the relatives, the school, my classmates, the priest, but especially myself, because I was real powerless. I was hurting and I wanted to punish them. Now, I'm asking all of them for forgiveness. I still don't have it in me to forgive myself. I'll see you all in your dreams, but other girls shouldn't go through what I've been through. If you are thinking of taking your own life, listen to me, talk to someone, to anyone, but don't go all the way like I did. It was too much for me, but it's good that I wrote on the wall, so it stays there. Anyways, everyone will forget about me after a few years. Dark's coming down. I see a red rose in my mouth and thorns in my throat, but it doesn't hurt. It doesn't hurt at all. Don't believe anything they say about me. Thank you very much. The next play was, again, teamwork. The playwright. It was created by Giulipa, just as who gets some nagrancia, and the script was also written during COVID by many different creators and makers. In front of their computers, they had rehearsals and they hit record, and also, not only the workers of the independent theater played a role, but also we were joined by Sonia Carmona Tapia from Spain, and Richard O'Neill from the UK. The play was translated into Hungarian by Victoria Kondi. We will see an excerpt, and then it will be acted out by Tomás Andrássega after the focus video. Next week, when I come back, I want you all to come for my birthday party. It is a big one. You didn't mention it, mommy. Can I have you something, organize or anything? No, no, no, no, no. Everything is set, don't you worry. I have everything paid for, yeah. Wow, nice. We'll be there. Well, listen, listen. Mom, I know there is a problem. I cannot come this time. I cannot be there this time. Me neither. So, then let's postpone it. Your mother has organized a party for a big birthday, something for the whole family, and you two are too selfish to come. What do you mean you can't come? Well, maybe we can just do it some other time. Maybe in the summer time? No, no, no, no, no, stop. No, we're always changing things for those two. Come on, let me explain. Be quiet, Tom. No, we're always changing things. Your mother's always changing things to accommodate you two. No, this time, no, this is the last one. If you don't come, you two. Come on, you two, Lucy, please. Let me explain. But father is right. Mellow, father is right. You are not contributing to the family. You did always this. Yeah, I mean, finally I have this project. I have this contract to be signed in the next few days. I'm finally working with the biggest orchestra, the biggest Roma orchestra in Europe, you know, with the best musicians that even bought me. Look, I finally could buy an accordion, a new brand, new beautiful accordion. Look that, look. Looks good, eh? Look, I did it finally, you know. And that would be nice as well if you could come home once a time or once a year. Yes, I would come home once a year. Just at my, just at our mom's birthday, for example. But, you know, I have to work now. This is a new camp in this closed place. And I have to work with them. This is a refugee camp and they came from far. So I have to help them. There are family, there are many children. I have to care of it. So, you know, this is a bad situation, a very bad situation for them. You know, they have no food. And the government gives some food for them. Okay. But they give them pork and they muslims. Do you know what is it? It is terrible. And if I don't do it, it will be crushed. I worked a lot with my group. But if I, if I... Okay, you know that I look after these advantage children as well. I know what does it mean. I know what does it mean to take care of children. This is my work too. Tommy, please, please listen to me. I go to the school every day. I teach them. I take care of them. Then I take care of my family as well. You know, how much time I spend with father and mommy. But I try to have some life of my own as well. Okay, but it depends on the family. But you are too sad. Too bad. And we are adopting a child. I still want to be the part of this family. But only if you fully accept us. As European family was was majoring the pandemic, then the next play, Voida is goes far more back where there was genocide and war. Igor Krikunov adapted it who was director of the Kiev theater. And that was one of theaters of the three stone theaters. And we had to let him go as well. So there will be an interview excerpt in the next focus video. It is based on Stanku's novel and Egad's play. And it is the story of a gypsy caravan whose leader is determined not to let his community die out against the wishes of the Romanian government. And he wants to save everyone. The play was translated into Hungarian by Peter Krostev and into English by Marie Josechiks. So this is the camp. Gypsies always live in camps. Good man. I know, I know. We have nothing to hide. Our camp is open to everyone. Like a meadow. So could you beat the Voivode? Yes, good man. I'm in charge of the camp. So ask me. I have to make a list of all of you. Tell me your name. How many of you are in the camp? All right. Welcome to the Bulibasha clan. And now we celebrate the birth of the 100th fellow in the camp. The 100th. Come on, rejoice with us. I do not need your joy. I said beware. Listen up quietly. Pay attention to what the provision has to say. In the name of His Majesty, in order to keep safety of the nation and also to avoid disturbances both on the land and also in the hinterland of our glorious troops. In view of our constant protective care of our subjects and for the benefit of the people I command as follows. Every Gypsy caravan that wanders within the territory of the country shall move to the remote lands nominated by the authorities where Gypsies shall live and work from now on. Violation or refusal to order real results in death by gunshot. We have never hurt anyone. I'll explain. I have been ordered to accompany you to your destinations. The order shall take effect upon meeting the provision. Kim, listen. We have the power of a buffalo but we are ordinary people. What kind of devil made you to apply voluntarily to this work? Drink some water. You will be relieved. It won't get any easier, Kim. And neither for the ones who left behind along the way. If you want to send me there after then keep this water sprinkled on my grave so the grass will grow. Stop whining. No, Voivode. Explain something to the people. Why did you have to volunteer for this forced labor? Maybe you have a purpose. Yes, I have. I want to save time. I want our camp to reach the remote areas designated by the authorities where Gypsies will continue to live and work as late as possible. I'm afraid we will have only one job there giving the grace for ourselves and if you can't stop even for one day I'll take advantage for it. Maybe you won't have even a day left to stay alive but one day this mad work will have to come to its senses and understand by the time it comes to its senses my bones will be laying on its trunks. People, let's go to the big campfire. We'll serve whatever we have. I suppose it could be a divine order because I have been dealing with theater since I was a child. I gathered the neighbor children around me and I will place from short stories and we performed them. We gathered the audience neighbors, adults and elderly who made all kinds of curtains. We played music ourselves. We played the guitar, the accordion and we put the music on the speaker. So I grew up with this around me. This is where I got the initial boost thus my mission was decided. It's a complex piece because the dramaturgy itself is fantastic. The main reason why we put it on stage is that it was written by my teacher. He was my master who made me fall in love with theater. He set a course for my development. He planted his own thoughts and ideas into me and what we can see now it ascends all spring from those seeds he planted into me. As his former student I wanted to commemorate him. He is no longer with us. Made the earth lie lightly on you. I'm speaking about Garigatze. Since he raises important issues and has an excellent dramaturgy the play should be in our theater repertoire. Because this kind of dramaturgy teaches and fulfills my theatrical talent. This is still a problem. When I was young and I was still studying acting my profession was popular and valued in general also among the Roma. Today it has no authority because you must work so hard that nobody wants to pursue becoming an actor. Most people just want to have fun and dance and our task is completely different. We also have to use our head. We need to have cultural knowledge to be able to communicate with the audience. He must work, work and work very hard. Young people today don't like to work. They have the mentality of meeting everything right now and want to become stars at once. We ran a studio. Fifty children were studying there at the time. Only two of them joined the company. It's complicated because I always think that in theory I have a contract signed with the Kiev National IK Karpenko-Karitheter Cinema and Television University to start a Roma class but it's not easy to find so many high school graduates and university students. This is the most important thing. You can't be lazy. Theater won't do itself. You must dedicate your whole life to it and you have to give things up. Everybody has different ideas of life both in a moral and intellectual sense but theater requires humility. In the theater you serve because it's the sanctuary of art. Just like you worship God in a church you have to give theater reverent honor to. After the war stories we'll have another war story but in time it's not that far away as the Second World War. It's about the war in Kosovo in Kosovo won a war by Jovan Nikolič and through the Serb which we see a war that we'll see in the video it's a war where Serbs and Albanians fought each other while the Roma population who lost their properties many had to flee their countries and many lost their lives. This this play is about an educated local Roma family while one brother used to work as a teacher the other is trying to keep the family owned restaurant and the good relationship has maintained with both Albanians and Serbs for decades. The play was translated into Hungarian by Kinga Kanyaraz Gyulasi and into English by Anna Lenjel After the focus video of the performance our colleague David Varga is next also from the Yugoslav region so the story is not that far fetched from him and he will read the background material on the war in Kosovo and that we remember that the genocide happened not so far ago near to us How did the Kanyar family do? They took care of themselves no dogs, no dogs, no dogs and they were killed by the war The attack has protected them I have been waiting for your help This is the blood of the Serbs the blood of the Serbs the blood of the Serbs the blood of the Roma the blood of the Roma the blood of the Roma the blood of the Roma the blood of the Roma and once again the Serbs are not enough Don't play, it's a war And do you know what the Serbs are used to do with the Serbs They take them to the village and they take them to the village Go, go How many people have we gathered in the car Now you have to get out of the car You have to get out of the car You have to get out of the car There is no friendship in the war That's all I wanted to say Yes? And I also know that you have chosen yourself I know everything I also know that you have to get out of the car They are sending me to the war I am And I have to get out of the car I need your help I don't trust anyone I don't trust anyone I don't trust anyone This is not your job This is a human's job Human blood These are not humans These are cannibals Humans are going to kill them They had their first radio and print media in the Romani language Roma associations organized concerts and folklore performances while writers published books The Roma from the area of Kosovo and Metohija were possibly among the most educated in all of Serbia Almost all Roma and Serbian and Albanian in their daily communications The turning point of their privileged status was the clash between the Serbian armed forces and Albanian extremists who advocated an independent Republic of Kosovo At the time Roma were confronted with the demand of Serbs and they remain loyal that they remain loyal to the state of Serbia and on the other hand with the demand of loyalty on the part of Kosovo's separatist Albanians based on their traditionally good relations with the Roma The Roma community, commonly known as Roma, Ashkali or Egyptians has always been the poorest and economically, politically and socially the most marginalized community in Kosovo Roma have often been the target of violent attacks and some Kosovo Abelniens the country's largest ethnic group contemptuously referred to Roma as the collaborators of the Serb minority Meanwhile Albanian speaking Ashkali and Egyptians have also often been the target of ethnically motivated attacks in recent years many Roma, Ashkali and Egyptians have been displaced outside Kosovo reducing their numbers from 200,000 before the 1999 war to some 38,000 today During the bloody fights in Kosovo many Roma families were brutally killed while women were raped ethnic persecutions and genocide of Roma in Europe since World War II For 20 years the European community remains silent and indifferent to these atrocities but finally in 2020 proceedings against suspected Albanian war criminals were launched at the International Court of Justice in the Hog After war stories let's take an outlook on peace times the next play is much more closer in time in Hungary although there's peace but maybe we don't have peace of mind, we are in a small village where is not giving any loans to the people because they are poor who will give them money usurers we will have a story of a woman and we will speak about questions to what extent is our responsibility, what kind of usurers and leaders will allow to operate above us and similar questions are raised in Rodigo Baloch's play which Noemi has already mentioned, it was first presented, premiered in the tour theater the play treats the audience as tourists arriving for the village festival whose members not only walk from scene to scene but also get to taste the delicacies it was translated into English by Orno Lenja and and Orsi Baloch will present an excerpt from the performance and then we will see the video focus scene of the audience and you can even eat them Eva's famous La Posch Fudge take your pick it only sets you back one euro but you are welcome to pay in four wins if you so prefer I'm not picky that way fresh from the oven, sweet and delicious what are you saying this little money is too much for you but you are from Budapest did you think you were going out to the real money fine then eat it it's yours no reason to feel guilty for ripping off the pen less, go ahead suck it up for free fucking they make me so mad it's enough to make me lose my dialect that was the scene I I was I was I was I was I was I was I I was I was I was I was I was Iot I'm Lalo's mother, I'm 2-6 and I'm 10-6. So you got a job when you were 3 years old? That's only a year, because you're older than 18, so you won't be able to do that anymore. Right now, you have 25,600 children, so you have a family of 5. I'm saying 1,076,600 children. There's a different kind of system. You get the biggest child, prokony, support, education. Yes. Tell me, how many children do you have? How many do you have? I don't have many. Around 1,000. I don't know how many. Look, do you have any children? Yes, who do you have? I have a lot of children. When did you get paid for that? I got paid for 3 months. I'm 40,000. So you didn't get paid for 4 months? No. If you get paid for 4 months, you'll be able to get paid for the rent. The rent, the new income, and the rent, you get 100,000 for the whole month. Do you know that? Yes. Do you have a bank card? I don't have any. So how much did you get paid for that? That's what. So you got 26,660,000, and you can get a card with 25,000. But you don't have to pay for the rent. You can get the next month, but you'll get a hundred. You got a hundred for the rent? That's a good amount of money. Or you have a profit. You'll get 40,000, but that's not good. You can get 10,000 for the rent. You'll get a 20,000, and you'll get a 40,000, and you'll get a 26,000, but you'll get a 26,000, and you'll get a 26,000, and you'll get a 26,000, and you'll get a 26,000, and you'll get a 26,000, and you'll get a 3,000, and you'll get a 26,000 or a 6, and you can get a Thank you very much. That's all we could fit in the volume and also that's all the time we have for tonight. Thank you for being here and we have a great opportunity for you because you can buy all the volumes with a 20% discount similar to the monodrama volume and who is still thinking you can also get this book at the Iroh Boyja bookshop and also at the independent theater. Thank you very much again for all our supporters who contributed to this drama book. I'd like to highlight the Bottle Foundation who are the first supporters to believe that what we do is important than the Open Society Institute, Creative Europe, Suma Arzium and the European Cultural Foundation who contributed to the creation of the dramas and the performances featured in the book and the 70 individual supporters and donors who have supported the cause of Roma drama. Thank you again for the Goethe Institute who not only gave the venue but also to have a toast with you here in the room. Unfortunately online viewers cannot join and we don't count our chickens before they are hatched. This is the second volume of Roma dramas which thanks to the hundreds of people we can hold in our hands and which is available for generations to come. Thank you very much.