Kerényi Ferenc szerk.: Színháztudományi Szemle 27. (Budapest, 1990)

IDEGEN NYELVŰ ÖSSZEFOGLALÓK

LÁSZLÓ NYERGES: THE IMPACT OF CARLO GOLDONI IN HUNGARY {Parti: 1841—1941) The impact of Goldoni has been felt in Hungary since the birth of Hungarian theatrical art. In the first part of this essay, published recently in Színháztudományi Szemle, the author surveyed the Hungarian stage history of the Venetian dramatist's plays, in the period spanning from the first performance in Hungary until the establishment of the National Theatre. Evoking theatrical events of the 100 years following this period, this essay illustrates the influence of Goldoni on the popular theatre of Vienna and, through this channel, on the development of the enthusiasm about the so-called folk play in the theatrical life of Pest-Buda. The essay briefly summarizes the experiences arising from the Hungarian reception of Italian troupes and celebrated actors on tour in the second half of the 19th century. The author points out that the realistic and characteristic acting style of the Italians and the artistic approach represented by their directors contributed to the spread of overdue naturalism on the Hungarian stage. Italian troupes put 'peculiarity' in the centre of aesthetical interest, and the importance of the director's function was also emphasized by the high level of ensemble-play of their performances. A whole chapter is devoted to the Goldoni-plays produced by Sándor Hevesi, and to directors following Hevesi's era, as their productions gradually abandoned Goldoni'

s realism. These directors preferred either the theatrical elements — lively playfulness, loud tone — or mannerisms based on rococo appearances. The characters were much more reminiscent of commedia dell'arte types than of realistic figures. Thus, in the interwar period, Goldoni-performances fitted in the process of re-theatralization and manifested the somewhat arbitrary flight of the directors' imagination. EDIT RAJNAI: THE PAINTER AND THE ACTOR ON THE STAGE (Two productions at the Magyar Színház in 1910, one directed by László Márkus and one by Sándor Góth.) Two plays were opened at the Magyar Színház (Hungarian Theatre) of Budapest on 26 March and 16 April 1910: Shako and Hat (Feldherrenhügel) by Alexander Roda-Roda and Carl Rössler, and The Concert (Das Konzert) by Hermann Bahr. Both plays fitted well with the repertoire of the Hungarian Theatre, as far as their type and dialogue-centered composition were concerned. Shako and Hat was both designed and directed by László Márkus, director-in-chief of the Hungarian Theatre,