Journal articles on the topic 'Hungarian National Theatre'

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).

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.

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.

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.

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.

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.

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.

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.

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.

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.

Abstract Shortly before his death Hungarian writer and essayist Péter Esterházy (1950 – 2016) wrote the dramatic text of Mercedes Benz – Historical Revue in two parts for the Slovak National Theatre. In particular, it focuses on the famous noble family Esterházy’s influence in Slovakia. The author of the play had a very strong association with this matter. In his writing Péter Esterházy used a wide range of intertextualities: his literary texts are like the fabric spun from fibres of the autobiography of his own family history, but also fragments of Hungarian and Slovak history, legends, tales, as well as hearsay and myths. The interpreted dramatic text is remarkable because Esterházy, in addition to intertextual recycling of his own texts, also exploits the texts of the Hungarian classic author Imre Madách The Tragedy of Man. The author of the study has focused on clarifying the function, specification and effects of Esterházy’s intertextual writing.

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.

Writing in 1853, Gábor Egressy, one of the leading actor-directors of the Hungarian-speaking National Theatre in Pest-Buda (Budapest), observed that representatives of different nations were appearing in increasing number on and off the stages of the major cities of Eastern Europe: Today not only ideas fly on lightning wings, but humankind as well. Quick and easy as well as cheap travel has mobilized humankind and created worldwide and constant migration. Now, we do not have to leave our place to see the people of the faraway world of whom, so far, we have had merely vague ideas through rumors and fairy tales: rather these people visit us in our home. From every part of the world, fantastically colorful groups proceed from time to time before our eyes. Whatever is pleasant, great, and fine on Earth, all visit us. Groups of Italians, French, Negroes, and English are coming here and offering the divine products of their homelands.Egressy shared this observation with readers when the black, British-American actor Ira Aldridge visited the National Theatre in 1853. Aldridge and his English company received a warm welcome from Hungarian audiences and leading intellectuals. At the same time, however, he was under surveillance by the Habsburg secret police, and was later politely asked to leave the city. In my article, I investigate Aldridge's visit to Pest-Buda using the concepts of surrogation (Joseph Roach) and mediatization (Christopher B. Balme), and pay close attention to the way the actor's contemporaries interpreted his visit.

Politics in Hungary since 1989 has been focusing on nation-building. Each government has had a license to articulate what it is to be Hungarian, in the public realm with public funds. While current political debates are heated and focus yet again on defining Hungarian national identity, this article takes a distance from contemporary politics. It studies a situation ten years earlier, when the current government party Fidesz -which took a landslide victory in the 2010 general elections after eight years of socialist-liberal government - was in office for the first time from 1998 to 2002. Exploring the debate from the perspective of architecture, it reveals how Fidesz sought to mark their space and express their sense of nationhood in Budapest around the millennium. Beside publicly sponsored institutions and commemoration, architectural forms became contested as they were used to express nationality. The National Theatre, Millennium Park and House of Terror Museum, each broke with the urban flow in the left-leaning metropolis while representing the Fidesz discourse on Hungary. The article, besides analyzing postcommunist nation-building, reflects on the interconnection between architecture, politics and memory in an urban symbolic landscape. It discusses how myths of nationhood can be represented in the cityscape.

The paper examines the primary musical and textual sources of Ferenc Erkel’s first opera, Bátori Mária. The author comes to the conclusion which is new in the Erkel literature, namely that the composer who was working under pressure of time in the weeks immediately preceding the premiere scheduled for 8 August 1840, availed himself of the help of József Szerdahelyi, a fellow-composer at the Hungarian National Theatre who collaborated in the orchestration of Act 2. Even so, Erkel considered the version presented at the first night as far from finished. He felt compelled to withdraw the opera, and to offer it again to the audiences with substantial emendations in January 1841. Modifications and additions at later stages of the twenty years long performance history of the opera are also analyzed.

The author of the paper has done research and analysis related to musical performance - also to certain fields of theatre and dance performance - since 2005. These examinations were above all focusing on economic (financing) problems of the mentioned areas. After the publishing of the book entitled Zene - Művészet, piac, fogyasztás [Music - Art, market, consumerism] in 2010, he pursues his work as the head manager of the Institute for Cultural Analysis Budapest and as a PhD candidate. The present paper is a presentation of his latest qualitative research which concentrates on the work of concert organizers. Examining different sources and means of financing, he concludes that the governmental budget and the National Cultural Fund continue to be determining in Hungarian concert financing. The recourse to the remaining five financing possibilities - European Union, local governmental sector, non governmental organizations, private sector and families - seems to present serious difficulties for various reasons.

At the meeting points of different cultures, a unique quality is born. That is what we can experience when sacred round dance, dance therapy, and talent development meet and overlap. The study aims to present a project operated by the Budapest 10th district Educational Consultant Team with the support of the Hungarian National Talent Program. The program, named Square-Dance-Theatre-Scene, was started as an experiment, integrating 12–14-year-old students, including psychologists, drama experts, art therapists, dance therapists, and dance teachers. In the paper, a sacred dance therapeutic workshop is described and analyzed, which was a part of this broader talent management program. The workshop was preceded by an outline of the underlying tripartite theoretical background: The sacred dance workshop’s group dynamics are analyzed with dance and movement therapy methods. The archaic roots of sacred dance related to the therapeutic approach are also displayed. Finally, a SWOT-type summary of the work process is given, including both the project’s strengths and weaknesses.

The circumstances surrounding the national premieres of Tennessee Williams's A Streetcar Named Desire reflect not only the play's vibrant theatre life but also the particular culture that responded to it, validating past or anticipating future critical interpretations. Within two years of the Broadway (and world) premiere of Streetcar in December 1947, the play had been staged in Austria, Belgium, Holland, France (adapted by Jean Cocteau), Italy (with sets by Franco Zeffirelli), England (directed by Sir Laurence Olivier), Switzerland (with a translation by poet Berthold Viertel), and Sweden (directed by Ingmar Bergman). In March of 1950, Streetcar premiered in U.S.-occupied Germany, at Pfozheim. The premiere of the play in some of the former Communist Bloc countries followed in the 1950s or early 1960s. Streetcar opened on the same day—December 21, 1957—at Torun and Wroclaw (Breslau in pre-War Germany), Poland, and in Warsaw the subsequent April of 1958. The Czechoslovakian premiere of Streetcar was in November 1960 in Moravia and its Hungarian debut occurred shortly after.

The years immediately following the Austro-Hungarian Compromise (1867) would politically have been the best time to make Bánk bán, Ferenc Erkel’s most important opera known in Vienna, thus launching his work in the German cultural area. However, the plot of Bánk bán and Erkel’s personal attitude regarding the Compromise were probably at that time too much of a sensitive issue. In terms of cultural policy the International Exhibition of Music and Theatre at the end of the 19th century could have presented itself as an opportunity to premiere it in Vienna. Instead, Katona’s Bánk bán was presented. One could have expected that Gustav Mahler would stage Bánk bán at the Vienna Court Opera, as he did Dalibor at the beginning of his period as artistic director. Apparently Mahler did never even consider the idea of its staging which may have been connected with both his personal tastes and the unfavourable memories he had of Budapest. The success of Smetana’s Dalibor in winning a wide recognition on German stages around 1900 as opposed to Erkel’s neglect, may partly be explained by its post-Wagnerian musical language. However, since in the meantime opera houses have again been conquered by Italian belcanto and French grand opéra — the two main operatic styles from which Erkel took his inspiration — stylistic reasons clearly cannot explain why his work remains internationally unknown up to this day. One of the reasons for the lack of success may very well be the over-emphasizing by its Hungarian partisans of the opera’s national qualities instead of its inherent dramatic values.

The House of Bernarda Alba was the first play of Federico Garcia Lorca that was staged by a Hungarian company in 1955. Hungarian directors followed with close attention the dramas of the Andalusian playwright and two years later, in 1957, the Hungarian National Theater included on its program another play of Lorca, Blood Wedding, written in 1933. Since then, the popularity of this drama on Hungarian stages has not diminished at all, it also inspired dance and opera adaptations. Recently, in the 2013-2014 season, Magyar Színház theater has also staged this play. The aim of this paper, which has been inspired by the aforementioned premiere, is to offer an overview of the Hungarian reception of Blood Wedding, highlighting some important productions of the past six decades.

Born to a Croatian father in Constantinople and educated in Vienna, August Adelburg (1830–1873) was a true cosmopolitan. His explicitly “national opera” about Miklós Zrínyi (c1508–1566), a Hungarian national hero of Croatian origins, was premiered in Hungarian translation on 23 June 1868 in the National Theater in Pest. The libretto (originally in German, and adapted by the composer from a drama by Theodor Körner) includes a preface that adumbrates a wholesale theory of cosmopolitanized national opera, as it were. Elaborating his views as expressed in his 1859 essay against Liszt’s On the Gypsies and their music in Hungary, Adelburg insists that the hegemony of the three traditional musical styles—German, French, and Italian—is obsolete, since “the tones have a single expressive language, which is divided into as many dialects as there are musical nations in the world.” At the same time, he also considers the overly use of less “worn-out” national styles misguided, since letting each character sing in the same manner is like “putting a Parisian lady’s hat, instead of an antique helmet, on Minerva’s head, and dressing the Roman emperors in black tailcoat, rather than sagum.” Therefore, a truly up-to-date national opera must in fact be “cosmopolitan” (Adelburg himself uses the term) in its sensitive portrayal of each individual character. Following a brief analysis of some of the most prominent “national” numbers of the work, I conclude by suggesting that Adelburg’s ideas about “cosmopolitanizing the national” render his Zrínyi a kind of mediator between two outstanding Hungarian operas of the period: Mihály Mosonyi’s “all-Hungarian” Szép Ilon (1861), and Ferenc Erkel’s “cosmopolitan” Brankovics György (1874).

The article investigates the construction of transnational Finno-Ugric identity through the theatre festival Mayatul and different performative strategies. This kind of identity construction is investigated through the framework of identity politics and transnationalism. The definition of the Finno-Ugric peoples (Finns, Estonians, Hungarians, Samis, Mordvins, Komi, Udmurts and others) is based foremost on their language kinship. It is believed that similar characteristics of languages and a similar natural environment and climate have shaped the close-to-nature lifestyle and the particular perception of the world shared by the Finno-Ugric peoples.Essential platforms for constructing transnational Finno-Ugric identity are different theatre festivals, among which Mayatul (since 1992) is the most prominent. The majority of productions at the festival are performed in Finno-Ugric languages and interpret the literary texts or folklore of these peoples. However, only a few productions strive for indigenous aesthetics like those of Estonian theatre director Anne Türnpu. The Finno-Ugric peoples’ identity is predominantly a minority identity because mostly they represent a small national and language group in a bigger state like Russia, and only Finland and Hungary have enjoyed one hundred years of independence. Nevertheless, all countries and nations embrace smaller ethnic or cultural minorities, thus minority identity is a universal concept. Theatre festivals are able to unite minority identities into larger transnational identites, even when it is just an imagined community.

The article analyzes the state of the study in the contemporary historiographical discourse of the problem of self-organization of Ukrainian public life in the second half of the ХІХth – the beginning of the XXth century. It has been found that democratization of the political system and renewal of the methodological tools provided an opportunity for historians to view the social life of the given historical period on the basis of a synergistic methodology of self-organization of social systems. It has been discovered that the historiographical position on the dynamics of social self-organization of the Ukrainians ranging from cultural life to the institution of political parties is considered legitimate among scholars. It has been proved that in contemporary historiography the processes of the contemporary self-organization of the Ukrainian society are considered in three specific historical areas, namely socio-civic, national-political and spiritual-cultural, the relationship between which was sometimes both consistent and synchronous. The development of them demonstrated the emergence of new organizational forms of social self-organization and institutionalization of civil society and political system in Ukraine in the XIXth century. Studying both theoretical and methodological, as well as definite historical dimensions of the Ukrainian national movement, the researchers agree that the cultural and educational content of national revival under the influence of objective circumstances has evolved into political one. Much attention is given to the analysis of the historians’ vision of the content of socio-civic self-organization, which was represented by the development of public organizations and movements grounded on the ideas of civil society but lacked political requirements. Among them scientists single out such factors as hlopomanstvo, social movement, organization "Prosvita", the establishment of Shevchenko scientific society, the publication of socially significant newspapers and journals ("Gromada", "Kievskaia Starina", "Delo", "Zoria"), the establishment of a cooperative movement ("Dnister", "The farmer"). The dynamics of the social organization have determined the politicization of the national movement, which allows scientists to speak about national and political self-organization. Establishment of political parties, active participation of the Ukrainians in the activities of the imperial representative bodies of the government, the spread of social and democratic political ideology, the emergence of political leadership and others are considered its institutional representatives. Researchers emphasize that in the late ХІХth and early XXth centuries, national revival entered the political stage, which became a prerequisite for the beginning of the Ukrainian National Democratic Revolution of 1917–1921. It has been found out that the concept "self-organization" reveals the essence of the socio-political and socio-cultural processes of the time, since the Ukrainians established cultural and educational societies, public organizations and political parties contrary to the imperial and anti-Ukrainian policy of the Austro-Hungarian and Russian empires. It was outlined that the spiritual and cultural aspects of self-organization were illustrated by the activities of Ukrainian cultural and educational societies, the development of Ukrainian periodicals, the commemoration of the anniversaries of Ukrainian writers and artists, the activities of Ukrainian theater, etc.

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