Academic literature on the topic 'Hungarian National Theatre'
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Journal articles on the topic "Hungarian National Theatre"
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Imre, Zoltàn. "Staging the Nation: Changing Concepts of a National Theatre in Europe." New Theatre Quarterly 24, no. 1 (January 30, 2008): 75–94. http://dx.doi.org/10.1017/s0266464x08000079.
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In this article, Zoltán Imre investigates the major changes in the concept of a national theatre, from the early debates in Hamburg in 1767 to the 2006 opening of the National Theatre of Scotland. While in the eighteenth and nineteenth centuries the notion of a national theatre was regarded in most of Western Europe as a means of promoting national – or even imperial – integration, in Eastern Europe, the debates about and later the realization of national theatres often took place within the context of and against oppressive imperiums. But in both parts of Europe the realization of a national theatre was utilized to represent a unified nation in a virtual way, its role being to maintain a single and fixed national identity and a homogeneous and dominant national culture. In present-day Scotland, however, the notion of a national theatre has changed again, to service a diverse and multicultural nation. Zoltán Imre received his PhD from Queen Mary College, University of London, and is now a lecturer in the Department of Comparative Literature and Culture at Eötvös Loránd University, Budapest, co-editor of the Hungarian theatre magazine Theatron, and dramaturg at Mozgó Ház Társulás (Moving House Theatre Company) and Természetes Vészek Kollektíva (Collective of Natural Disasters). His publications include Transfer and Translation: Intercultural Dialogues (co-editor, 2002), Theatre and Theatricality (2003), Transillumination: Hungarian Theatre in a European Context (editor, 2004), and On the Border of Theatre and Sociology (co-editor, 2005).
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Katalinić, Vjera. "Zagreb at the operatic crossroads in the 1860s: the winding road towards the national opera." Muzyka 63, no. 4 (December 31, 2018): 38–54. http://dx.doi.org/10.36744/m.337.
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During the 1860s, Zagreb did not have a steady operatic ensemble, although its preparatory stage was already in existence within the drama department of the National Theatre, when – from 1863 – operettas were performed by a small theatre orchestra. However, the National Theatre as an institution exist from 1861 on, and the theatre building, erected in 1834 and owned by the City Municipality from 1852 on, was continuously housing opera companies from abroad, mostly from within the Habsburg and later (since 1867) Austro-Hungarian Empire, coming prevailingly from its Italian provinces. The article offers a brief outline of the theatre organisation as well as an overview of various foreign companies, coming from Hungarian, Austrian and Italian towns, their repertoires (mostly Italian, with sporadically German and Hungarian pieces) and their reception as reflected in Zagreb’s German and Croatian press. It also points at the importance of local music education and of Croatian pieces that were produced in Zagreb during that period, following the advancement of national strivings that finally led to the foundation of the permanent opera company in 1870.
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Gausz, Ildikó. "French tragedy in the Hungarian theatre." Belvedere Meridionale 30, no. 1 (2018): 5–20. http://dx.doi.org/10.14232/belv.2018.1.1.
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The drama is one of the important historical sources of early modern national self-interpretations. After the Long Turkish War (1591–1606) historical dramas are able to enhance patriotism and patriotic education. The tragedy entitled Mercuriade written in 1605 by Dominique Gaspard puts on stage Philippe-Emmanuel de Lorraine, Duke of Mercœur (1558–1602) when he, after the conciliation with Henry IV and leaving the Catholic League, entered into the service of Rudolf II in 1599 and joined the anti-Turkish fights in Hungary. After his death Duke of Mercœur became a mythical hero and his memory was even mentioned at the end of 17th century. Mercuriade can be considered a masterpiece of 17th century school drama, through which it is possible to study the particularities of plays written with a didactic purpose for the students.
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Burcică, Pompilia. "The Hungarian Professional Theatre in Greater Romania, 1918–1930." New Theatre Quarterly 35, no. 1 (January 16, 2019): 70–90. http://dx.doi.org/10.1017/s0266464x18000623.
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In this article Pompila Burcică traces the work and legal conditions in which Hungarian theatre professionals – company directors and actors – operated as a national minority of middle-class status in Greater Romania after 1918. Their attempts at representing Hungarian culture in the public space, as revealed in their business correspondence with the Romanian state, placed theatre professionals not at the vanguard of a collective action on behalf of a minority and its cultural life, but at the forefront of civic engagement and individual private initiative that led to economic recovery and development, thus illustrating the array of civic choices and economic opportunities for minorities holding Romanian citizenship in a nation state. The article focuses on two issues: the work environment for minorities that helped them adjust professionally and negotiate and exert a civic identity in the new nation state; and the degree to which a cultural field such as theatre was actually treated as an economic entrerprise, free of political interference. These civic and economic concerns accounted for the success of these theatre entrepreneurs, operating their businesses under the control of a paternalistic state.
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Tallián, Tibor. "Oper spielen — Opern schaffen Entstehungs- und Aufführungsgeschichte der ersten ungarischen Operntragödie." Studia Musicologica 55, no. 3-4 (September 2014): 179–235. http://dx.doi.org/10.1556/6.2014.55.3-4.1.
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The paper investigates the genesis as well as the performance history of Ferenc Erkel’s first opera. Bátori Mária, the first Hungarian tragic national opera was premiered on 8 August 1840 at the Hungarian Theatre in Pest. In it, Erkel adapted the model of Italo-French romantic opera. Further representations of Bátori Mária spanned over the following two decades. Based on contemporary critical reviews, the author offers a reconstruction of the performances, traces the soloists’ artistic carreer, and highlights the difficult process of professionalization of Hungarian opera playing.
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Giménez-Rodríguez, Francisco J. "De Falla's Hungarian Success: A háromszögletű kalap (1928)." Studia Musicologica 59, no. 3-4 (December 2018): 309–21. http://dx.doi.org/10.1556/6.2018.59.3-4.4.
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Abstract In this study, I examine a hitherto completely unknown subject: the Hungarian reception of Manuel de Falla's ballet pantomime, El sombrero de tres picos (The three-cornered hat). As I point out, the story of the piece began well before Falla composed his music: Alarcón's novel was published in a Hungarian translation just two decades after the Spanish original. In the first decades of the twentieth century, the Budapest Opera House (Magyar Állami Operaház) and Municipal Theatre (Városi Színház) developed intensive opera, theatre, and ballet seasons, in association with the main European capitals during the first decades of the twentieth century. De Falla's ballet was premiered in Budapest in 1927 by Diaghilev's Russian Ballet, in the Municipal Theatre under the Hungarian title A háromszögletű kalap. The piece had such success that it had to be repeated three times. What is more, a Hungarian production was premiered in the Budapest Opera House one year later and this production continued until 1963, delivering a total of 75 performances. The sources (among others the handwritten performing scores) of this latter production preserved in the National Széchényi Library and in the Archives of the Hungarian State Opera House reveal an intense work of choreographic adaptation, along with careful design of staging, costumes, lightning, and scenery effects, all accomplished by great international personalities to make this very Spanish ballet understandable to the Magyar audience. Falla's work also found a significant support in the press, highlighting both the plot's universality and the expressiveness of his music, which had made it a Hungarian success.
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Rodríguez-Lorenzo, Gloria A. "The Arrival of the Zarzuela in Budapest El rey que rabió by Ruperto Chapí." Studia Musicologica 60, no. 1-4 (October 21, 2020): 243–62. http://dx.doi.org/10.1556/6.2019.00012.
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The appearance of zarzuela in Hungary is entirely unknown in musicology. In the present study, I discuss the currently unchartered reception of the zarzuela El rey que rabió (first performed in Spain in 1891) by Ruperto Chapí (1851-1909), a Spanish composer of over one hundred stage pieces and four string quartets. Premièred as Az unatkozó király in Budapest seven years later in 1898, Chapí’s zarzuela met with resounding success in the Hungarian press, a fervour which reverberated into the early decades of the twentieth century. Emil Szalai and Sándor Hevesi’s skilful Hungarian translation, together with Izsó Barna’s appropriate adjustments and reorchestration, accordingly catered the work to Budapest audiences. Through analysis of hand-written performance materials of Az unatkozó király (preserved in the National Széchényi Library), alongside a detailed study of the Hungarian reception, the profound interest in Spanish music–particularly in relation to musical theatre–amongst the turn-of-the-century Hungarian theatre-going public is revealed. This paper explores how Az unatkozó király became a success in Hungary.
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Minier, Márta. "Questioning the ‘of’ in Performance-as-translation: Multimedia as a Subtext in the 2003 Pécs Performance ‘of’ Hamlet." Multicultural Shakespeare: Translation, Appropriation and Performance 16, no. 31 (December 30, 2017): 89–108. http://dx.doi.org/10.1515/mstap-2017-0021.
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This article explores a theatre performance (National Theatre Pécs, 2003, dir. Iván Hargitai) working with a 1999 Hungarian translation of Hamlet by educator, scholar, translator and poet Ádám Nádasdy as a structural transformation (Fischer-Lichte 1992) of the dramatic text for the stage. The performance is perceived as an intersemiotic translation but not as one emerging from a source-to-target one-way route. The study focuses on certain substructures such as the set design and the multimedial nature of the performance (as defined by Giesekam 2007), and by highlighting intertextual and hypertextual ways of accessing this performance-as-translation it questions the ‘of’ in the ‘performance of Hamlet (or insert other dramatic title)’ phrase. This experimentation with the terminology around performance-as-translation also facilitates the unveiling of a layer of the complex Hungarian Hamlet palimpsest, which, as a multi-layered cultural phenomenon, consists of much more than literary texts: its fabric includes theatre performance and other creative works.
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Imre, Zoltán. "Cultural Mobility, Networks, and Theatre." Nordic Theatre Studies 32, no. 2 (January 22, 2021): 6–25. http://dx.doi.org/10.7146/nts.v32i2.124345.
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The Budapest premiere of Henrik Ibsen’s Kísértetek (Gengangere) was on 17 October 1908 by the Thália Társaság, a Hungarian independent theatre. Though banned earlier, by 1908, Ibsen’s text had already been played all over Europe. Between 1880 and 1908, the search of IbsenStage indicates 402 records, but probably the actual performance number was higher. The popularity of the text can be seen in the fact that all the independent theatres staged it, and most of the famous and less famous travelling companies and travelling stars also kept it in their repertoires. Though, usually, the high-artistic independent and the commercial international and regional travelling companies are treated separately, here, I argue for their close real and/or virtual interconnections, creating such a theatrical and cultural network, in which the local, the regional, the national, and the transnational interacted with and were influenced by each other. At the turn of the nineteenth and twentieth centuries, such interaction among different forces and agents on different levels was one of the special features of cultural mobility (Greenblatt) which characterized intercultural theatre culture, existing in Europe and America, and extending its influence almost all over the globe.
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Tronchin, Lamberto, Francesca Merli, and Marco Dolci. "Acoustic Reconstruction of Eszterháza Opera House Following New Archival Research." Applied Sciences 10, no. 24 (December 9, 2020): 8817. http://dx.doi.org/10.3390/app10248817.
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The Eszterháza Opera House was a theatre built by the will of the Hungarian Prince Nikolaus Esterházy in the second half of the 18th century that had to compete in greatness and grandeur against Austrian Empire. The composer that inextricably linked his name to this theatre was Haydn that served the prince and composed pieces for him for many years. The Opera House disappeared from the palace complex maps around 1865 and was destroyed permanently during the Second World War. This study aims to reconstruct the original shape and materials of the theatre, thanks to the documents founded by researchers in the library of the Esterházy family at Forchtenstein, the Hungarian National Library, and analyze its acoustic behavior. With the 3D model of the theatre, acoustic simulations were performed using the architectural acoustic software Ramsete to understand its acoustical characteristics and if the architecture of the Eszterháza Opera House could favor the Prince’s listening. The obtained results show that the union between the large volume of the theatre and the reflective materials makes the Opera House a reverberant space. The acoustic parameters are considered acoustically favorable both for the music and for the speech transmission too. Moreover, the results confirm that the geometry and the shape of the Eszterháza Opera House favored the Prince’s view and listening, amplifying onstage voices and focusing the sound into his box.
Dissertations / Theses on the topic "Hungarian National Theatre"
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Tallián, Tibor. "The Prophet in the province." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-224633.
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The première of Meyerbeer\'s Le Prophète in the Hungarian National Theatre on June 12th 1850 was an event of unprecedented importance in the short history of professional opera in the Hungarian language. In my paper I am going to demonstrate the role of the orchestra in the
success of this work. I shall combine this with the presentation of other outstanding aspects of the performance so that we shall be able to fairly judge the orchestra\'s contribution to the success.
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Tallián, Tibor. "The Prophet in the province." Musikgeschichte in Mittel- und Osteuropa ; 5 (1999), S. 117-126, 1999. https://ul.qucosa.de/id/qucosa%3A15628.
Full textAbstract:
The première of Meyerbeer\''s Le Prophète in the Hungarian National Theatre on June 12th 1850 was an event of unprecedented importance in the short history of professional opera in the Hungarian language. In my paper I am going to demonstrate the role of the orchestra in the
success of this work. I shall combine this with the presentation of other outstanding aspects of the performance so that we shall be able to fairly judge the orchestra\''s contribution to the success.
Book chapters on the topic "Hungarian National Theatre"
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"Taking the Stage: Opera in the Hungarian Theater." In Staging the Nation: Opera and Nationalism in 19th-Century Hungary, 56–78. BRILL, 2018. http://dx.doi.org/10.1163/9789004347229_005.
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"The OMIKE Theater in Goldmark Hall." In The Writers, Artists, Singers, and Musicians of the National Hungarian Jewish Cultural Association (OMIKE), 1939–1944, 21–28. Purdue University Press, 2016. http://dx.doi.org/10.2307/j.ctv15wxp42.7.
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