Effigy, seen up close: a portrait. Another image: different. The etymological explanation resonates with me, because I too think of the solo that is being made in this way as a simile, since the person on stage is a quasi-fictional person. He feeds off of Krisztián and me and appears on Krisztián's body, so he is similar to him, but he is not one in the same. The appearance of the word effigy was first documented in English in 1539, probably through French transmission, from the singular of the Latin effigies, meaning copy, image, likeness, portrait, and statue.

I like the fact that there is a biblical association with this analogy, since the Bible says that God created man in his own image. The painter, in turn, takes the image of the model and his own imagination and paints the result. Like us, in this solo. This is also supported by Krisztián's hobby, painting, which is to say that a painter paints images. His portraits show not only faces, but also destinies.
As in our performance, the character will have an individual destiny that will be played out - or not - that will be read by the audience - or not.

The burning of effigies is part of many rituals marking the changing seasons, which are performed according to local traditions across Europe. The figures usually represent the 'undesirable' forces of life (winter, the previous year, witches, Judas) and their burning marks and celebrates the annual cycle of life - death and rebirth - the overcoming of winter and the return of spring. Most traditions take place around New Year, at the end of Carnival or the week before Easter.

Portrait of Roland Szabó