Kerényi Ferenc szerk.: Színháztudományi Szemle 29. (Budapest, 1992)

IDEGEN NYELVŰ ÖSSZEFOGLALÓK

Gergely Csiky, 1842-1891, who was born 150 years ago, was the most succesful Hungarian playwright of the second half of 19th century. ADRIENNE DARVAY NAGY analyses his obscure, three-act play, Charming Girls, 1882. The play follows the contradictory careers of two charming sisters: one becomes a prostitute, while the other remains a poor, yet pure girl. This study also treats the changes made later to transform the bitter play, with traces of Zola's influence to a popular operetté to conform it to the demands of the wide public. Theatre History LIANA PETROVA writes about the influence of the Exiles of the Hungarian War of I ndependence, 1848-1849, on the Histrionic Art of Bulgaria. She reveals that the emigrants of the Hungarian civil revolution and the national war of independence held only solo performances in the town of Vidin, Bulgaria (at that time part of the Turkish Empire), in 1849, while in Sumen, in 1850, there were also proper theatre performances under the leadership of Gábor Egressy, actor and director of the National Theatre in Budapest, which were seen by Bulgarians, too. Sava Doboplodni, teacher of the Sumen school and friend of the emigrants, wrote the first Bulgarian comedy in 1853. It was partly inspired by the performances he had seen before. TAMÁS GAJDO writes about one of the quite obscure chapters of the Hungarian avantgárdé theare history, under the title Irén F eld's Company in the Buda Theatre (Budai színkör, Autumn Cycle, Oct.-Nov., 1917). In spite of being several stars in the cast, and performing well-known playwrights, the actress' experiment necessary failed, when she tried to make Strindberg popular in a domestic theatre for a public of 1200 during the recession caused by World War I. (Full program and a list of members of the company are enclosed) JÓZSEF KÖLTÖ deals with the Acting between 1918-1940 in Székely udvar hely (now: Odorheiu-Secuiesc, Rumania), a town in Transylvania with almost exclusively Hungarian inhabitants. (A list of actors who played there, 174 people altogether, is enclosed.) in his study, The Conditions of the Hungarian Professional Acting in Yougoslavia between the two World Wars, SÁNDOR ENYEDI reveals that after the Trianon Peace Treaty, 1920, the possibilities there were even worse than in Czechoslovakia or Rumania, although in the territory of Hungary before the Trianon Peace Treaty, there had been performances in Serbian language since 1813. In 1927, professional performances were held in Zombor (now: Sombor, Serbia) for three weeks, till they were banned. No more performances took place neither there, nor anywhere else in the Hungarian-inhabited towns in the province, however, in 1938 there were serious negotiations to improve relationships in the field of the theatre.