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

IDEGEN NYELVŰ ÖSSZEFOGLALÓK

László Nyerges: Carlo Goldoni's Theatre in Hungary III. (1945-1990) After the Second World War cultural politics in Hungary proved very favourable for the comedies of Goldoni to gain a wider reputation. Repertory theatres played a number of his plays that had not been played in this country before and some country theatres would stage a Goldoni play now and then. In the beginning the emphasis was laid on the elements of commedia dell'arte and the entertainment. Later social implications were preferred. In more recent years the style has mercifully changed again, a deeper interpretation, less farcical, more finely shaded has gained the upper hand, sometimes with bitter undertones. This style of interpretation centres on the problems of human coexistence, interdependence and communal fate. Zsófia Medgyesy: G.B. Shaw in Hungary or the Shaw-cult in Hungary as Reflected by the work of Sándor Hevesi This essay is the first to reconstruct productions that lack contemporary photo documentation. Directors* scripts were carefully analysed, press cuttings and the director's theoretical writings studied, objects used. The methodology for the treatment of these sources were worked out by a group of the Hungarian Theatre Institute and Museum of which the author was a member at the time. Anna Krisztina Szabó: The Beginnings of Hungarian Acting in the United States This essay approaches a subject that has never yet been dealt with either by students of emigration or students of theatre history. Based on a theatre-type description system by György Székely and a weekly paper, one of the few available sources of information, the author sets up a theatre-sociological model which reflects the amateur theatric activities of immigrant Hungarians in Youngstown, Ohio, and the circumstances under which Hungarian professional theatre companies emerge in the USA around 1910. The model builds upon information about the actors, the special occasions when they decided to stage plays, their aims and the kinds of plays that they produced, and is flexible enough to be applicable to every Hungarian-populated town of that era.