Kerényi Ferenc szerk.: Színháztudományi Szemle 27. (Budapest, 1990)
IDEGEN NYELVŰ ÖSSZEFOGLALÓK
than a stage background: it obtained dramaturgic function. This new style was absolutely unknown on 'the first stage of the country' at that time. Németh called his approach a 'neo-realist' one: the dramatic text loses its independent value in the context of the stage, but its mentality penetrates each and every element of 'the performance as a whole'; it determines both design and the actions of the artists. The presentation of Bánk bán analysed in this essay was conceived in the spirit of this new style, which integrated respect for the text itself, a characteristic of naturalism, with theatrical effects of avantgárdé, and thus created a new quality. The fundamental motifs of this production can be detected in two earlier works of Németh: in a Szeged production from 1930, and his designs for Faust from 1931. The permanent setting transformed only by lighting came from the former, the idea of the tower on a revolving stage, from the latter. Analysing these 'preliminary studies', the author mentions two other important elements: Antal Németh's anti-naturalist productions from his season at Szeged, reflecting German influence; and his theatrical exhibitions. Thus, both aspects of Németh's oeuvre are stressed in the essay: his work as a theatrical artist and as a theatrical scholar. ANDRÁS BÉKÉS: IN MEMÓRIÁM LILI NEMÉNYI AND ÁRPÁD HORVÁTH (A speech delivered at the dedication of a memorial room in the Local History Museum of Pesterzsébet.) The Neményi Memorial Room was inaugurated on 24 November 1989, in Pesterzsébet. It was the last will of the famous actress Lili Neményi that posterity properly keep the memory of her husband and herself. In his dedication speech, András Békés revived the memory of the two outstanding artists in the warm tones of a close friend. He recalled Árpád Horváth 's ardent belief in, and underground activity for, the coming of the new democratic system; his enigmatic disappearance and that, after this, he was wilfully forgotten; then Békés talked about Lili Neményi 's not thoroughly futile struggle against this fact. András Békés also mentioned Lili Neményi's famous roles as a prima donna, and the Neményi Funds.
