Title: Institutional structure, social function, and the Shakespeare repertoire in Hungary after 1989–1990
Source document: Theatralia. 2021, vol. 24, iss. Special Issue, pp. 47-64
Extent
47-64
-
ISSN1803-845X (print)2336-4548 (online)
Persistent identifier (DOI): https://doi.org/10.5817/TY2021-S-4
Stable URL (handle): https://hdl.handle.net/11222.digilib/143673
Type: Article
Language
License: CC BY-NC-ND 4.0 International
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
The article discusses the framework of Hungarian Shakespeare productions after 1989–1990. Although the social function and circumstances of culture have changed, theatre was able to preserve its position, as its institutional structure remained almost the same as before. The paper studies the major Hungarian Shakespeare directors in the 20th century, following which it deals with the relation of companies founded after 1989 to Shakespeare. Afterwards the paper shows the tendencies in the frequency of Shakespeare productions, presents the data of companies with relevant Shakespeare repertoires, and provides a list of Shakespeare plays produced in Hungarian theatres. Finally, awards given to Shakespeare productions are listed and developments in translation are outlined.
References
[1] BÉCSY, Tamás and György SZÉKELY (eds.). 2005. Magyar színháztörténet 1920–1949 [History of Hungarian Theatre 1920–1949]. Budapest: Magyar Könyvklub, 2005.
[2] BRADLEY, A. C. 1904. Shakespearean Tragedy. London: Macmillan, 1904.
[3] BROOK, Peter. 1996. The Empty Space. New York: Touchstone, 1996 [1968].
[4] CRAIG, Edward Gordon. 1908. The Actor and the Über-marionette. The Mask 1 (April 1908): 2: 3–15.
[5] DÁVIDHÁZI, Péter. 1989. 'Isten másodszülöttje.' A magyar Shakespeare-kultusz természetrajza ['The Second-born Son of God.' The Natural History of the Hungarian Shakespeare Cult]. Budapest: Gondolat, 1989.
[6] GAJDÓ, Tamás. 2005. Kísérletek a kerületi rendszer újjászervezésére és a vidéki színházi központok megteremtésére [Attempts to Reorganise the District System and to Set Up the Provincial Theatre Centres]. In Tamás Bécsy and György Székely (eds.). Magyar színháztörténet 1920–1949 [History of Hungarian Theatre 1920–1949]. Budapest: Magyar Könyvklub, 2005: 729–770.
[7] HARTNOLL, Phyllis (ed.). 1967. The Oxford Companion to the Theatre. London: Oxford University Press, 1967.
[8] HEVESI, Sándor. 1920. Az igazi Shakespeare [The Real Shakespeare]. Budapest: Táltos, 1920.
[9] HEVESI, Sándor. 1991. The Correspondence of Edward Gordon Craig and Sándor Hevesi (1908–1933). Ed. by György Székely. Budapest: Hungarian Theatre Institute and Museum, 1991.
[10] IMRE, Zoltán. 2015. A Midsummer Night's (Different) Dreams: The Royal Shakespeare Company's 1972 Tour in Eastern Europe. Theatre Survey 56 (2015): 3: 336–361.
[11] KISS, Zsuzsánna. 2018. Between Meaning and Understanding: King Lear and Pericles on Hungarian Stages. In Jana B. Wild (ed.). Shakespeare in Between. Bratislava: VŠMU, 2018: 75–88.
[12] KOLTAI, Tamás. 1986. Major Tamás. Budapest: Ifjúsági Lap- és Könyvkiadó, 1986.
[13] KOTT, Jan. 1964. Shakespeare, Our Contemporary. Transl. by Bolesław Taborski. New York: Doubleday & Company, Inc., 1964.
[14] MINIER, Márta. 2017. Uprooting Shakespeare. A Historical Survey of Early to Institutionalised Hungarian Shakespeare Translation. In Jana Bžochová-Wild (ed.). 'In double trust'. Shakespeare in Central Europe. Bratislava: Vysoká škola múzických umení, Divadelná fakulta, 2017: 29–51.
[15] MÜLLER, Péter P. 2000. To Change or not to Change: Stagnation and Transition in Hungarian Theatre. In Dragan Klaić and Maaike van Geijn (eds.). '…en de ton die viel in duigen…' ['…and the barrel which fell apart…']. Amsterdam: Theater Instituut Nederland, 2000: 123–125.
[16] MÜLLER, Péter P. 2008. Színház/művészet/politika. Pécsett az 1970-es, '80-as években. [Theatre/Art/Politics. In Pécs in the 1970s and 80s]. In Péter P. Müller (ed.). Hamlettől a Hamletgépig [From Hamlet to the Hamletmachine]. Budapest: Kijárat, 2008: 213–227.
[17] MÜLLER, Péter P. 2011. Permanence in the Process of Changing: Major Features in the Institutional Structure and Social Function of Hungarian Theatre after the F/Wall. In Attila Szabó (ed.). Theatre After the Change: And What was There Before the After?, vol. 2. Budapest: Creativ Média, 2011: 125–130.
[18] PIKLI, Natália. 2011. Teenagers in Focus – Classic/Popular Shakespeare? A Case Study of Present Day Hungarian Reception. In Bálint Gárdos et al. (eds.). Confrontations and Interactions. Essays on Cultural Memory. Budapest, Paris, Torino: L'Harmattan, 2011: 235–255.
[19] PIKLI, Natália. 2014. Hamlet, Örkény Theatre, Budapest, Hungary, 21 March 2014, directed by László Bagossy. Reviewing Shakespeare. [accessed on 23.01.2021]. Available online at https://bloggingshakespeare.com/reviewing-shakespeare/hamlet-orkeny-theatre-budapest-hungary-2014–2/.
[20] PIKLI, Natália. 2018. 'My kingdom for a…' – What?! Andrei Şerban's 'Richard III' at the Radnóti Theatre, Budapest. The Theatre Times (15. 12. 2018). [accessed on 23.01.2021]. Available online at https://thetheatretimes.com/my-kingdom-for-a-what-andrei-serbans-richard-iii-at-the-radnoti-theatre-budapest/.
[21] SZABÓ, Attila. 2019. Klasszikus drámák a modern színpadon. Shakespeare és a kortárs dráma színpadi aktualitása a 20. század második felében és napjainkban [Classic Dramas on the Modern Stage. The Theatrical Topicality of Shakespeare and Contemporary Drama in the Second Part of the 20th Century and Nowadays]. In Attila Szabó (ed.). A valós színterei [Scenes of the Real]. Budapest: PRAE.HU, 2019: 53–76.
[22] SZÉKELY, György. 2005. A Nemzeti Színház [The National Theatre]. In Tamás Bécsy and György Székely (eds.). Magyar színháztörténet 1920–1949 [History of Hungarian Theatre 1920–1949]. Budapest: Magyar Könyvklub, 2005: 215–312.
[2] BRADLEY, A. C. 1904. Shakespearean Tragedy. London: Macmillan, 1904.
[3] BROOK, Peter. 1996. The Empty Space. New York: Touchstone, 1996 [1968].
[4] CRAIG, Edward Gordon. 1908. The Actor and the Über-marionette. The Mask 1 (April 1908): 2: 3–15.
[5] DÁVIDHÁZI, Péter. 1989. 'Isten másodszülöttje.' A magyar Shakespeare-kultusz természetrajza ['The Second-born Son of God.' The Natural History of the Hungarian Shakespeare Cult]. Budapest: Gondolat, 1989.
[6] GAJDÓ, Tamás. 2005. Kísérletek a kerületi rendszer újjászervezésére és a vidéki színházi központok megteremtésére [Attempts to Reorganise the District System and to Set Up the Provincial Theatre Centres]. In Tamás Bécsy and György Székely (eds.). Magyar színháztörténet 1920–1949 [History of Hungarian Theatre 1920–1949]. Budapest: Magyar Könyvklub, 2005: 729–770.
[7] HARTNOLL, Phyllis (ed.). 1967. The Oxford Companion to the Theatre. London: Oxford University Press, 1967.
[8] HEVESI, Sándor. 1920. Az igazi Shakespeare [The Real Shakespeare]. Budapest: Táltos, 1920.
[9] HEVESI, Sándor. 1991. The Correspondence of Edward Gordon Craig and Sándor Hevesi (1908–1933). Ed. by György Székely. Budapest: Hungarian Theatre Institute and Museum, 1991.
[10] IMRE, Zoltán. 2015. A Midsummer Night's (Different) Dreams: The Royal Shakespeare Company's 1972 Tour in Eastern Europe. Theatre Survey 56 (2015): 3: 336–361.
[11] KISS, Zsuzsánna. 2018. Between Meaning and Understanding: King Lear and Pericles on Hungarian Stages. In Jana B. Wild (ed.). Shakespeare in Between. Bratislava: VŠMU, 2018: 75–88.
[12] KOLTAI, Tamás. 1986. Major Tamás. Budapest: Ifjúsági Lap- és Könyvkiadó, 1986.
[13] KOTT, Jan. 1964. Shakespeare, Our Contemporary. Transl. by Bolesław Taborski. New York: Doubleday & Company, Inc., 1964.
[14] MINIER, Márta. 2017. Uprooting Shakespeare. A Historical Survey of Early to Institutionalised Hungarian Shakespeare Translation. In Jana Bžochová-Wild (ed.). 'In double trust'. Shakespeare in Central Europe. Bratislava: Vysoká škola múzických umení, Divadelná fakulta, 2017: 29–51.
[15] MÜLLER, Péter P. 2000. To Change or not to Change: Stagnation and Transition in Hungarian Theatre. In Dragan Klaić and Maaike van Geijn (eds.). '…en de ton die viel in duigen…' ['…and the barrel which fell apart…']. Amsterdam: Theater Instituut Nederland, 2000: 123–125.
[16] MÜLLER, Péter P. 2008. Színház/művészet/politika. Pécsett az 1970-es, '80-as években. [Theatre/Art/Politics. In Pécs in the 1970s and 80s]. In Péter P. Müller (ed.). Hamlettől a Hamletgépig [From Hamlet to the Hamletmachine]. Budapest: Kijárat, 2008: 213–227.
[17] MÜLLER, Péter P. 2011. Permanence in the Process of Changing: Major Features in the Institutional Structure and Social Function of Hungarian Theatre after the F/Wall. In Attila Szabó (ed.). Theatre After the Change: And What was There Before the After?, vol. 2. Budapest: Creativ Média, 2011: 125–130.
[18] PIKLI, Natália. 2011. Teenagers in Focus – Classic/Popular Shakespeare? A Case Study of Present Day Hungarian Reception. In Bálint Gárdos et al. (eds.). Confrontations and Interactions. Essays on Cultural Memory. Budapest, Paris, Torino: L'Harmattan, 2011: 235–255.
[19] PIKLI, Natália. 2014. Hamlet, Örkény Theatre, Budapest, Hungary, 21 March 2014, directed by László Bagossy. Reviewing Shakespeare. [accessed on 23.01.2021]. Available online at https://bloggingshakespeare.com/reviewing-shakespeare/hamlet-orkeny-theatre-budapest-hungary-2014–2/.
[20] PIKLI, Natália. 2018. 'My kingdom for a…' – What?! Andrei Şerban's 'Richard III' at the Radnóti Theatre, Budapest. The Theatre Times (15. 12. 2018). [accessed on 23.01.2021]. Available online at https://thetheatretimes.com/my-kingdom-for-a-what-andrei-serbans-richard-iii-at-the-radnoti-theatre-budapest/.
[21] SZABÓ, Attila. 2019. Klasszikus drámák a modern színpadon. Shakespeare és a kortárs dráma színpadi aktualitása a 20. század második felében és napjainkban [Classic Dramas on the Modern Stage. The Theatrical Topicality of Shakespeare and Contemporary Drama in the Second Part of the 20th Century and Nowadays]. In Attila Szabó (ed.). A valós színterei [Scenes of the Real]. Budapest: PRAE.HU, 2019: 53–76.
[22] SZÉKELY, György. 2005. A Nemzeti Színház [The National Theatre]. In Tamás Bécsy and György Székely (eds.). Magyar színháztörténet 1920–1949 [History of Hungarian Theatre 1920–1949]. Budapest: Magyar Könyvklub, 2005: 215–312.