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

IDEGEN NYELVŰ ÖSSZEFOGLALÓK

who designed the stage-setting for the other play too. The Concert was directed by Sándor Góth, earlier a member of the company of the Vígszínház (Comedy Theatre), at that time newly engaged to work at the Hungarian Theatre. Góth played one of the leading roles of the performance as well. The author of this essay tries to reconstruct the productions with the help of the two director's copies. The settings of both plays were designed according to Márkus'

s principles inspired by the visual arts; he aimed for the harmony of colours and forms. The stage designs did not go beyond the style of naturalism, they only attempted to find new solutions within the usual compass. The director's copy of Shako and Hat consists primarily of sketches of stage tableaux. László Márkus regarded the scenery as the backbone of the performance; he rarely put down any stage directions for the actors. As opposed to this approach, Sándor Góth prepared the series of actions with meticulous care and emphasized the points of the play. This style, though it struck the audience of the Hungarian Theatre as novelty, had been a routine at the Comedy Theatre as novelty, had been a routine at the Comedy Theatre for 14 years by that time. This is the first complete director's copy known so far, providing evidence of László Márkus's activity at the Hungarian Theatre between 1908 and 1923. No other document of Sándor Góth's productions, which met with little success at the Hungarian Theatre, has survived. GÁBOR KOVÁCS: JÓZSEF KATONA'S BÁNK BÁN DIRECTED BY ANTAL NÉMETH (NATIONAL THEATRE, 1936) Antal Németh

's oeuvre and his importance in Hungarian culture was pushed into the background in bygone years. A revival of the scholarly interest in his life-work occured only in the second half of the 1980s, but even thus, Németh'

s place in Hungarian theatrical history remains unclarified. Antal Németh was one of the most outstanding theatrical artists of our century. The rethinking of three classic Hungarian dramas served as a backbone in his oeuvre: Bánk bán by József Katona, Csongor and Tünde by Mihály Vörösmarty and The Tragedy of Man by Imre Madách. His artistic approach to these dramas as a director represent the main features of his art. This essay analyses the Bánk ban-performance directed by Németh, as a first step towards an intended general outline of the director's oeuvre. In March 1936, the 33-year-old manager-director surprised the largely protocol audience of the National Theatre with a daring performance. The public, accustomed to the naturalistic approach on the stage, now saw a kind of symbolic tower without walls. This revolving structure, divided by stairs, was much more