Földessy Edina, Szűcs Alexandra, Wilhelm Gábor: Tabula 6/1 (Néprajzi Közlemények; Budapest, 2003)

HELTAI GYÖNGYI: Színház és interkulturalitás

JENKINS, HENRY 1992 What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetics. New York: Columbia University Press. KÍNAIAK I960 Kínaiak a színházról. Budapest: Színháztudományi Intézet. LEVINE, LAWRENCE W. 1988 Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge-London: Harvard University Press. MOLNÁR GÁL PÉTER 200

1 A pesti mulatók. Budapest: Helikon. PAVIS, PATRICE 1

990 Le théâtre au croisement des cultures. Paris: José Corti. PRADEL-DE GRANDRX MARIE-NOELLE 1

983 Découverte des civilisations dans l'espace et dans le temps. Le livre des expositions universelles, 185 l-l 989. Paris: Éditions des arts décoratifs. SAVARESE, NICOLA 1

995 Teatro e spettacolo fra Oriente e Occidente. Roma-Bari: Editori Laterza. VENCZEL SÁNDOR 1999 Virágkor tövisekkel. Beszélgetés Gáspár Margittal. Színház 32(8): 16-21. GYÖNGYI HELTAI Theatre and interculturalism This paper analyses the relation of theatre and interculturalism in the Hungarian theatre of the 1950s. In the first half the author outlines some approaches worked out for the notion of "Theatre Interculturalism" in cultural history (Lawrence Levine, Henry Jenkins), in theatre history (Nicola Savarese), in theatre anthropology (Jerzy Grotowski, Eugenio Barba) and in translation studies (Patrice Pavis). In the second part, she analyses some contradictions of intercultural nature that emerged after a politically forced cultural transfer, the aggressive sovietization of the Hungarian theatre in the 1950s. Some consequences of that radical change are outlined in the course of which the Socialist Realism, a collectivist, Asiatic art philosophy and practice invaded the Hungarian theatre that had been traditionally specialised in pure entertainment. The focus is on the procedures by which the Budapest Operetta Theatre tried to facilitate the audience reception of the imported socialist operettas, representing a totally unknown socio-cultural context. Finally - based on archive documents and memoirs the author outlines some examples where the incomprehension of the intercultural phenomena led to misunderstanding, scandal and resulted in the failure of some Soviet and Chinese plays.