Fuchs Lívia: A tánc forradalmárai. Vendégszereplők 1898 és 1948 között. Bajor Gizi Színészmúzeum, Budapest 2004. március 19 - május 2. (Budapest, 2004)
Kísérlet a szintézisre
or exposure - in dance; what relationship exists between creative and performing artists; how can new technical developments be utilized on stage; can old theatrical conventions transgressed; may tradition be interpreted liberally; and, last but not at all the least: is dance truly an art form, and is it at all a part of the progressive theatre? The first answers to the questions thus posed between the turn of the century and the 1920’s came from the foremost Hungarian poets and authors, such as Sándor Bródy, Géza Csáth, Dezső Kosztolányi and Károly Lövik, although Endre Ady, and Ferenc Molnár also expressed their views concerning the turbulently novel phenomena in modern dance in a handful of articles, short essays and other writings. The 1910’s saw the initial attempts at approaching dance from a theoretical point of view. The first to publish his discourses on the aesthetics of dance was Lajos Bálint, and there were a handful of art or music theorists - like Máriusz Rabinovszky, Emil Haraszti, Aladár Tóth and Sándor Jemnitz — who could not ignore the academic questions posed by modern dance and the reforms in classical ballet. From the mid- 1920’s on, the theatricality of dance attracted the attention of some directors for stage, and, as a consequence, the renowned directors Sándor Hevesi and Antal Németh also published some articles on the current or general concerns of dance. We cannot, of course, talk about expert dance criticism in these decades. The bulk of daily papers and periodicals did not yet have theorists in their employ, so the quality of reviews of dance premieres varies considerably, since the writings that appeared in the columns of old journals ranged from downright excoriation showing total lack of understanding to essays demonstrating incredible insight and sensitivity. The extraordinary popularity of dance since the 1920’s is indicated by the founding of two professional periodicals; in 1926, István Tarkeövy started the journal The Dance, dealing with all branches of dance, and in 1933 a magazine devoted exclusively to the popularisation of modern dance began to be published under the editorship of Miklós Láng, titled Movement culture, whose main MAUD ALLAN AT SYDNEY PALACE. A dead head mt/ckts ike Salome dance.
