Kopin Katalin: Kilenc évtized a művészet vonzásában. Pirk Jánosné Remsey Ágnes (1915-2010) és a Remseyek - PMMI - Ferenczy Múzeum kiadványai 33. (Szentendre, 2011)
Katalin Kopin Delettare ed educare The History of the Remsey Marionette Theatre (1934-1953) The marionette theatre founded by the Remsey family in 1934 represents an outstanding chapter in the history of artistic puppet theatre in Hungary. The history of the family puppet theatre was divided into two separate periods by World War II. The first part, which lasted from 1934 to 1935, was followed by a break of thirteen years. The puppets deriving from this first period perished during World War II. In 1947, the members of the Remsey family returned to making puppets and organizing puppet shows in their family house in Erdő street, Gödöllő. The painter Jenő Remsey and his three sons, Iván, Gábor and András played a significant role in the second period of the Remsey Marionette Theatre. Iván Remsey’s wife, lima Sipos joined the family company as a new member. Although its reorganization coincided with the flourishing of the ’popular puppet movement’ supported and controlled by the state in the 1950s, the marionette theatre was not born within the framework of this movement. The company succeeded in preserving its artistic independence and intellectual freedom throughout the years. The amateur strivings of contemporary puppet theatre were characterized by the compulsory 'actualising tendency’. The company did not accept the idea of involving current political issues into the programmes and applying puppet shows as a means of political agitation. The Remsey family followed the traditions of the artistic puppet theatre represented by Géza Blattner and István Árpád Rév. They chose the motto of the Italian Podrecca puppet theatre dynasty, 'Delettare ed educare' (Delight and teach) as their slogan, which appeared on their posters as well. Between 1947 and 1953, they carved twenty-five 45-90-cmlong puppets from lime. The puppets bear the marks of extraordinary sense of form and high artistic standard. The Remsey Marionette Theatre came into existence as a result of the family’s joint artistic effort, since they did everything together, including designing and making of the artistic puppets, building the marionette stage, painting the scenery, moving the puppets, dramaturgical and directorial tasks and performing the puppet show itself. Each family member did his/her best, and played an equal role in the project. Considering its artistic strivings and spirit, the Remsey Marionette Theatre is similar to the artistic puppet theatre of the 1920—30s. The Remsey Marionette Theatre organized performances and operated until 1953, but puppet making and puppet shows continued playing an important role in the career of the individual family members. The Remsey Marionette Theatre did not fulfil the expectations set by the cultural policy of the communist era, but preserved its intellectual independence and artistic freedom. Although the Remsey family did not make a living from their passion for puppet shows, their autonomous activity nourished by inner ambitions has become an essential chapter in the history of the Hungarian puppet theatre. 29
