Kovács Ferenc: Olvasópróba előtt (Skenotheke 1. Budapest, 1996)

Felhasznált irodalom

... his fine taste sensed that the story of this winter night could only be true in a symbolic sense of ecstasy. ... Ódry, Mariska Vizvári, and Ilona Aczél are the three leads. They are supported by Rózsahegyi, Uray, and Anna Füzes. ... The performance in Kamaraszínház elevated John Gabriel Borkman [sic] above the merely newsworthy and turned it into a serious artistic event." (Újság, Apr. 8,1928) "[0]ne of the most perfectly structured Ibsen plays, ... it is here that his symbolism is the most mesmerizing, ... symbol and reality are intertwined in an organic unity, ... they penetrate each other." (8 Órai Újság, NOV. 24, 1928) The Vígszínház staging of 1965 was directed by István Horvay, with Páger, Sulyok, and Bulla in the leading roles. (It was broadcast on television on March 31,1974.) "The old Ibsen is present in the play in two guises: by erecting a horrible and wondrous memorial to the tribulations of old age, and by offering the sum total of his entire career in this play, which contains the most prominent characteristics of the Ibsen oeuvre." (Magyar Nemzet, sept. 29, 1965) "When characterizing as not completely satisfactory the performance at Vígszínház and what the majority of the actors have accomplished, we have duly taken into account the inherent difficulties, shortcomings and outdatedness of the play. More attention should have been paid to the symbolism and mythology which transcend the outlines of this more or less realistic story." (László Kéry's review, ES, Sept. 25,1965) "I have read some studies written about Ibsen because I think it is necessary to look beyond the author. ... This play is not outdated at all; what is more, Henrik Hajdu's new translation is positively striking. Ibsen was a formidable explorer of the human psyche." (Mária Sulyok, Film Színház Muzsika, Sept. 10,1965) "The great Norwegian playwright in this play also sets out to expose false bourgeois aspirations; he shows the society of his age in which noble, worthy ideals are doomed to failure. ... This choice of material was not fortunate ... The actors of Vígszínház fought a losing battle against melodrama." (László Sólyom, Lobogó, Oct. 13,1965) "The 'explosive passion' and 'suffocating atmosphere' known from earlier Ibsen plays make their reappearance here too. . . . Three people are reaching out for one and the same life jacket; however, the jacket 42