Kerényi Ferenc szerk.: Színháztudományi Szemle 28. (Budapest, 1991)

IDEGEN NYELVŰ ÖSSZEFOGLALÓK

the "nation's father", the National Theatre thus becoming a tool of authority. Even after 1810 the independence of the theatre was realized only in financial aspects. Mr. Valentin Silvestru's lecture Our Forerunners Come with Us to Posterity highlighted the revolutionary traditions of Romanian theatre, making many references to Romanian drama and its best achievements, especially in the genres of historical plays and satires. Mr. Alojz Ujes (Belgrade) held a lecture entitled: The Role of Theatre in the Creation of the Yugoslav National State. Although the region was shared by different cultural characteristics, there were different religions, different forms of state, yet ethnic closeness and linguistic similarity made it possible that a young class of educated people should have been able to induce fairly similar processes of development among the southern Slavic nations. As part of this process acting, connected with religion and schools, became communal in touring companies and cities before eventually becoming professional. The first Serbian National Theatre operated as a touring company between 1861 and 1914 which is unprecedented in Europe. The new Yugoslav state had six significant companies and more than forty theatre buildings. Ms. Pirkko Koski (Helsinki) held a lecture called: From Ling uistic to Cultural Dominance. The lecture treated the above process in Finnish theatre. In that region of the world Swedish theatre played a similar role to the German theatre in our region. Finnish theatre as a "national undertaking" exercised its greatest influence on cultural development between 1850 and 1880. Examples of links existing between Finnish and Hungarian literature from 1885 to the present gave a remarkably good illustration of the fact that far ends of a spectrum may still maintain some form of contact. Ms. Ildikó Sirató (Budapest) presented a notable working hypothesis entitled National Theatre and the Popular Theatre Model in Middle and Eastern Europe in the 19th Century. In this lecture comparative methods were advanced for the purposes of analysis of particular events of theatre history. The lecturer used concrete examples to show the relationship of the region to the most developed theatre cultures of Europe among which it was the German theatre that did most by way of a direct effect and communicated the results of various other tongues and nations of the region for one another. Ms. Magdolna Kolta (Budapest) analysed The Role of Theatre in Making Budapest a Metropolis. The Hungarian capital was the most surging and developing city in Europe during the second half of the 19th Century. This was the time when theatres diversified to suit the diverse demands of the theatre-going public. This process did take after the examples of Vienna and Paris but it also had definite characteristics of its own. The National Theatre and the Opera House remained public institutions, other theatres served — directly or indirectly — the demand for entertainment, and there was no avant-garde theatre. Mr. Oskar Pausch (Vienna) held his lecture based on documents relating to German Touring Companies in Hungary using data from the Theatre History Collection of the Austrian National Library. His lecture showed that these companies and actors' dynasties continued to play an important role in Hungary until the dissolution of the Austro-Hungarian Empire. By way of proof Mr. Pausch quoted from the legacy of the Kreibig and the Siege families and the example of Adolph Sonnenthal and Charlotte Wolter as well as the love affair of Roda-Roda and Adele Sandrock.