Kerényi Ferenc szerk.: Színháztudományi Szemle 29. (Budapest, 1992)
IDEGEN NYELVŰ ÖSSZEFOGLALÓK
the researchers who stuck to the old interpretation of the dramatic conflict. ZOLTÁN ROHONYI discussed Katona's Interpretation of Drama on the Basis of his Instructions to the Bánk Bán. It is an important element that the meaning of the text can only be discorvered with the help of the instructions, the two being in an organic relationship, with the latter creating the dramatis vision in the reader, too. IMRE NAGY set out from the mythological parable of Arachne's linen, when analysing József Katona's only comedy, The Rose, 1814. The play is based on real events, but the third act is a "play within the play" and it ironically puts the previous acts into quotation marks. Doing this, the author surpasses the concept of comedy in his age. LÁSZLÓ MÁRTON a well-known playwright, spoke about Franz Grillparzer's drama, A Faithful Servant to His Lord (Ein treuer Dicher seines Herrn, 1828). The title of his lecture was Bánk Bán, the Saviour of the Queen. Grillparzer incorporated the same historic event into his play as József Katona did, but he was interested in the hero's tragedy of representing order, loyal courage and human dignity (László Márton made the last Hungarian translation of the play, too). At the time, ROGER HOWARD, a guest-professor from Colchester directed his own historical drama on the stage of the University Theatre in Pécs. In his lecture, he spoke About Historical Drama and the Bánk Bán, discussing to what extenct would the presentday British audience be able to interpret the play, and what would they react to, in case it was performed there. The Bánk Bán Dictionary was published on the occasion of the anniversary. The vocabulary of the play is scientifically processed in it. This is the fourth writer's dictionary made by the Hungarian linguists, who have worked on it for five years. JÓZSEF BEKE, the compilator of the dictionay, gave an account of their work, FERENC BIRÓ addressed the audience At József Katona's Grave. It was not a simple memorial speech, he searched the motives that made Katona return to his native town. Among the causes, there are his middie-class origin and the premature state of the Hungarian literary world as well as some certain features of his masterpiece (which is the mirror of his mind), i. e. the dramatic conflict within the soul, taking constitutional law as the subject matter of the drama and scepticism whether we can ever gain full knowledge of the truth. We enclose ZOLTÁN IMRE 's study to the text of the lectures of the sesseion (Préfigurations of Bánk Bán in József Katonás Earlier Plays), originally written as a student's thesis. He analysed the dramatic structure, the characters and the anfolding of their relationships in József Katona's dramatization, translations and original plays. Furthermore, he contrasted Katona's development as a dramtist and the two basic patterns that the Hungarian dramatists followed, namely the enlightened type of drama with the scheme of ruler — his court — his subjects, and the other model, involving inner conflicts betwen two clashing wills centered around the hero, who is motivated from many sides. The latter type lead from sentimentalism to romanticism.
