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Journal articles on the topic 'The'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Jákfalvi, Magdolna. "The Urban Theatre of the Present : The 40 Years of the Katona József Theatre." Theatron 17, no. 4 (2023): 75–84. http://dx.doi.org/10.55502/the.2023.4.75.

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Katona József Theatre closed its 40th season on June 16, 2023. Director Gábor Máté said that “the entire staff at the Katona József Theatre can be proud that, despite the ongoing economic difficulties, the 40th season was completed in a manner worthy of the institution’s roots.” During the anniversary celebrations, I watched the performances and was haunted by the thought of taking a look at the Katona (as the people of Budapest call it) from the outside of its cultural framework and creative idiom. For forty years, the Katona has provided a most intensely stimulating discourse on artistic creation in Hungarian, with a specific theatrical idiom and a continuous self-reflective redefinition of its own status. In search of such ideas as “roots” and “worthy manner”, in this paper I juxtapose the 1982 and 2022 seasons to evaluate this complexity as it can be understood and perceived from the perspective of European urban theatre cultures.

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Oláh, Tamás. "The Self-Definitions of the Hungarian Minority in Vojvodina in the Performances of the Tanyaszínház (Grange Theatre)." Theatron 17, no. 4 (2023): 53–61. http://dx.doi.org/10.55502/the.2023.4.53.

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The Hungarian travelling theatre company named Tanyaszínház (Grange Theater) was founded in 1978 in Yugoslavia, and it has not stopped since. In their performances, one can observe how successive political systems generated social issues that also affected minorities. These issues are not presented as historical facts but rather as everyday realities on stage. Their productions, which are given in villages and small towns, serve as prisms that directly reflect social experiences back to the community. From the history of the company’s performances, one can discern the infinitely complex narratives of self-definition for the Hungarian minority in Vojvodina (North Serbia), spanning from the late 1970s to the present day. Over the last four and a half decades, they have not only thematized the process of self-identification of the Hungarian community in the province but have also participated in it.

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3

McCarter, Robert. "Marcel Breuer: Last of the First Moderns / First of the Last Moderns." Theatron 15, no. 4 (2021): 69–76. http://dx.doi.org/10.55502/the.2021.4.69.

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Marcel Breuer (1902–1981) is one of the most important architects and designers of the second generation of Modernism. Yet today, more than 35 years after his death, Breuer is most often remembered for his furniture designs, while his architectural works have largely disappeared from disciplinary discourse. Breuer may be said to have stood between the first generation of modernists, such as Mies van der Rohe, whose accomplishments he matched, and the second generation of modernists such as Louis Kahn, who were his true contemporaries. Yet Breuer could be said not to belong either to the first or second generation, never embracing what he characterized as the dogmatic modernism of the glass curtain wall, but also rejecting the idea that modern architecture was a monolithic conception. Having begun his career with his 1934 lecture critiquing modernism from the inside, Breuer consistently rejected the critiques of modernism coming from the outside during the last 25 years of his career, when modernism was declared to be dead, and practitioners such as Breuer were labeled “late modernists.” Standing between the first and the last moderns, Breuer may be understood as the last of the first moderns and the first of the last moderns.

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Gula, Louie Petere. "THE EMERGING SEDENTARY LIFESTYLE OF THE 21ST CENTURY JUNIOR HIGH SCHOOL STUDENTS." SKY-International Journal of Physical Education and Sports Sciences (IJPESS) 6 (December 14, 2022): 1–17. http://dx.doi.org/10.51846/the-sky.v6i0.1584.

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The purpose of the study: This study aims to identify the following factors that affect the physical inactivity of the students in Saint Joseph College aged 12- 16 years old. It aims to understand the impact of this crisis and how to address this pressing issue. Materials and methods: A descriptive- survey research design was utilized to document the respondents' behavior, demographics, and experiences correlated to the questions provided. The questionnaire includes 15-item questions that seek to gather information on their basic profile, current experiences, and behavior towards physical activities. Results: The study discovers that teenagers aged 12-16 years old are inactive in physical activities and sports due to some reasons like the exposure of too much time on gadgets, whether the activity provides a fun and offers socialization, lack of motivation, occupied schedules for other matters, the COVID-19 pandemic, costly sports equipment on the sports of their interest, the unavailability of playing area, and lastly health concerns. Conclusions: Therefore, physical inactivity only alleviates certain issues, physically, mentally, spiritually, and socially. Physical inactivity is the result of demotivated individuals, physical illiteracy, prolonged screen-time, and health issues.

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Patonay, Anita. "The Development of Children’s and Youth Theatre in Hungary: the Path of Institutionalization and Beyond the Professional Sphere (1949–1989/1992)." Theatron 17, no. 4 (2023): 40–52. http://dx.doi.org/10.55502/the.2023.4.40.

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It was after the Second World War and the nationalisations that autonomous theatres for children and youth and theatre performances targeting this age group were first established in Hungary. In my study, I will present the institutional history of children’s and youth theatres in the period 1949–1989/1992 and the children’s and youth theatre-makers who were amateur theatre-makers alongside the institutionalised theatres. I will give an insight into the productions that were produced during this period, the problems faced by the children’s and youth theatre community, and the contradictions that creators had to face during the period of state socialism. I will look at decisions, decrees, and laws on the medium of children’s and youth theatre productions from 1949 to 1989/1992, in order to gain a better understanding of the cultural context in which amateur theatre groups produced performances in the context of children’s and youth theatre culture, alongside the institutionalised children’s and youth theatres.

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Kékesi Kun, Árpád. "“World Theatre in Szolnok” During the 1970s : Gábor Székely: The Drake’s Head, 1973." Theatron 16, no. 4 (2022): 81–95. http://dx.doi.org/10.55502/the.2022.4.81.

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Gábor Székely’s stagings of Örkény, Chekhov, Molière and Shakespeare in Szolnok during the 1970s overshadow his mise-en-scène of Gácsérfej (The Drake’s Head), whose significance is almost made imperceptible by the unfamiliarity of the play (and its author), and the complete absence of its stage history in Hungary. However, the 1973 performance of George Ciprian’s play illustrates the far-reaching boldness of the effort that “we want to create world theatre here in Szolnok”, which could be the motto of the Székely Era in this small Hungarian town. The essay outlines how The Drake’s Head developed into the essence of this ambition, and how free from orthodoxy Székely handled “committed political theatre”, even against the expectations of the authorities.

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7

Jászay, Tamás. "Shakespeare Matrix Across the Continent." Theatron 16, no. 4 (2022): 170–75. http://dx.doi.org/10.55502/the.2022.4.170.

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The volume offers a representative collection of Shakespeare festivals from the European continent in the form of individual case studies. The book makes the case for a “pan-European and post-English” Shakespeare by providing evaluative and interpretative accounts of both well-known and less-focused festivals in Eastern and Western Europe. The essays combine an external, objective eye with an internal perspective, in just the right balance. Shakespeare on European Festival Stages is a high-quality travel companion, providing a brand-new Shakespearean Grand Tour for all interested theatre scholars and theatre-goers.

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8

Liang, Huang. "Analysis of China-Pakistan Leisure Sports Industry under the Background of "The Belt and Road"." SKY-International Journal of Physical Education and Sports Sciences (IJPESS) 5, no. 1 (December 10, 2021): 1–12. http://dx.doi.org/10.51846/the-sky.v5i1.1055.

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Scholars stress the importance of leisure sports activities for a healthy body and mind. There is a positive correlation between socioeconomic uplift and leisure sports activities. China-Pakistan economic corridor (CPEC) is the flagship project under the “The Belt and Road” initiative led by the Chines government, with pouring in of huge investment centered around CPEC. It is hoped that it would have positively affected leisure sports activities. Relying on qualitative and quantitative data, the study analyzed the impact of CPEC on leisure sports activities. The findings suggest the positive impact of CPEC on leisure activities. These activities were facilitated with the provision of sports facilities, infrastructure development, economic uplift, and cultural influence.

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Kérchy, Vera. "The Responsible Hands of Theatre : Minor and Major Forces on the Stage of Metanoia Artopédia." Theatron 16, no. 4 (2022): 118–28. http://dx.doi.org/10.55502/the.2022.4.118.

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In this study, I analyze the 2013 performance of Metanoia Artopédia, Ice Doctrines. Variations on Nazi Rhetoric in the context of the history of the Hungarian independent theater group. Using Judith Butler’s thoughts on hate speech and Gilles Deleuze’s minor/major use of language, I try to show that the shift to “major” forms and topics (the power of representation and the representation of power) from an Artaud-ian “minor” theatre does not mean a radical change in the group’s history, and the theater of “kings and princes” gets necessarily deconstructed on the stage of Metanoia. After 20 years of owning a minor perspective – the world of the “saint idiots” – the group takes the perpetrator’s point of view and stages the Lingua Tertii Imperii (the language of the Third Reich). Still, Ice Doctrines remains “minor” as it finds the “lines of escape” within representation.

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Jászay, Tamás. "Parallel Histories and Survival Strategies : The Szkéné Theatre and the MU Theatre yesterday and today." Theatron 16, no. 4 (2022): 43–53. http://dx.doi.org/10.55502/the.2022.4.43.

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Receptive venues in Hungary are the „stepchildren” of the theatre structure established in 1949, which has remained essentially unchanged since then. These spaces of the independent performing arts scene could be the breeding ground of artistic innovation, progression, and experimentation, if properly subsidized by the state. This has clearly not taken place over the last few decades: neither the ever-changing funding and legislative environment, nor the public and theatre professionals’ perception of the status of the receptive venues support an improvement in the situation. This study examines and compares the theatrical profiles of two emblematic performing arts centres on the Buda side of the Hungarian capital: the Szkéné Theatre on the second floor of the Budapest University of Technology and the MU Theatre, which grew out of the former Lágymányosi Community Centre.

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Váradi, Ágnes. "Hungarian Export Plays : Foreign Success Stories of Hungarian Dramas at the Turn of the Century." Theatron 17, no. 4 (2023): 3–14. http://dx.doi.org/10.55502/the.2023.4.3.

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Although in Hungarian dramatic history we can occasionally find Hungarian plays that managed to have a good career abroad, but observing the dramatic literature of the first third of the 20th century, we can realise that the number of so-called export plays is considerable. Success stories in Hungarian drama literature are associated with the first decade of the Vígszínház: naturally, as part of a modernising theatrical culture, press publicity and promotion play a significant role in audience success. Within the profit-oriented theatrical model, sold-out performances in large series are considered successful plays, forming the basis for potential export dramas. Considering the fact that only works that do not address a specifically Hungarian theme, meaning that they go beyond national borders and local problems, can attract the attention of foreign audiences; priority is given to social dramas, and, to a lesser extent, comedies which mainly deal with a social problem typical of the period. This study highlights key milestones in the international careers of some Hungarian export plays, starting from the Berlin premiere of The Schoolmistress in 1909 to the Zurich premiere of The Dancer in 1918.

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12

Gelencsér, Gábor. "The MA (Today) and Tomorrow : Film Theory and Practice in the Classical and Neo-avant-garde." Theatron 15, no. 4 (2021): 88–94. http://dx.doi.org/10.55502/the.2021.4.88.

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MA (‘Today’) published only a few articles and documents about films, but these were the most important ones in the period of silent cinema. These articles concentrated around 1921, the starting point of international avant-garde cinema (German Expressionism, French Surrealism, the Soviet montage film). The most important ones are Victor Eggeling’s fundamental essay on moving picture (published first in Hungarian in Kassák’s periodical 1921 No. 8) and László Moholy-Nagy’s illustrated film plan (written in 1921/22, published in an extra issue of 1924). The paper examines the theoretical and historical context of the two texts and their influences to the next avant-garde period in Hungarian cinema of the 1960s and 1970s. It seeks to find connections between the classical and neo-avant-garde period, among others, in the fields of intermediality and political sensibility, which are the most particular attributes of the two periods, except the fundamental difference, namely that the classical period produced only theoretical works and plans, and no (Hungarian) films, while the neo-avant-garde period had both theoretical and practical outcomes, as it can be seen in the life work of Gábor Bódy.

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13

Ring, Orsolya. "The Country of Iron and Steel on Stage. Theatres and Political Propaganda in the Rákosi Era." Theatron 16, no. 4 (2022): 16–27. http://dx.doi.org/10.55502/the.2022.4.16.

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In my study, I examine how theatre appeared in the official propaganda journal of the Rákosi-era, whose declared aim was to support the “cultural revolution”. Through an analysis of the linguistic propaganda devices that appeared in the journal, the focus of my writing is to show the ideological relations that defined not only the official theatre, but also the framework of workers’ or factory theatre. The ideologists and political decision-makers of the period made excellent use of the phenomenon that, in a total dictatorship, artistic works always carried a political message and conveyed values. In this way, theatre was used as a tool of propaganda to influence people’s thinking, emotions, and behaviour.

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Ashfaq, Muhammad, Dr Soniha Aslam, and Syed Asim Hussain. "THE IMPACT OF CO-CURRICULAR ACTIVITIES ON THE OVERALL PERFORMANCE OF SECONDARY SCHOOL STUDENTS IN FATA." SKY-International Journal of Physical Education and Sports Sciences (IJPESS) 1 (December 1, 2017): 33–44. http://dx.doi.org/10.51846/the-sky.v1i0.217.

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The study was aimed to analyze the relationship of co-curricular activities with academic progress, personality development and leadership skills of Male Secondary School students of FATA. A sample size of 200 respondents was selected on the basis of random sampling technique. The study was delimited to Qirat, Naat, Sports, Scouting, Quiz and Speech contest. A questionnaire of five points Likert Scale after seeking due permission from Principals and Head Masters was used to reach to the in-depth of the phenomena. Statistical techniques Mean, Percentage and Standard Deviation were run to analyze the collected data. The researcher analyzed the relationship between co-curricular involvement and its positive impacts on students overall performances. Finally it was determined that co-curricular activities has a durable connection with physical and mental health, self-confidence, qualities of leadership, personality development, interpersonal relationship, personal hygiene, healthy behaviors and educational performances.

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Ahmed, Aqsa Shamim, Hafiza Sadeea, and Saadia Mahmood ul Hassan. "The Relationship of Sports and Physical Activity to the Academic Achievement- A Case of Hearing-Impaired Children." SKY-International Journal of Physical Education and Sports Sciences (IJPESS), no. 1 (December 1, 2020): 170–82. http://dx.doi.org/10.51846/the-sky.v4i1.825.

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Sports and physical activity is not only important for normal children but it is equally essential for the children with physical disabilities. Effective sports participation of children with hearing deficits has physical, mental, intellectual as well as societal benefits. The aim of this study was to examine the impact of sports participation on academic achievement of hearing impaired children. For this purpose, a total of children were selected, divided into groups on the basis of comparative experimental design. Half of the sample was assigned to control group including those students who did not participate in sports whereas, other half was assigned to experimental group including those children who participated in sports activity including Badminton, Football and Volleyball. After pretest and post test data was collected with the help of Sports Participation Scale and Academic Performance rating scale. The overall reliability of the scale was found to be. Results indicated that there was a significant positive impact of sports participation on the academic achievement from to with betterment level of . According to these results we can conclude that sports participation creates a positive impact on academic achievement of Hearing-impaired students.

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Nagy, Imola. "The Transylvanian Postdramatic Theatre of Radu Afrim." Theatron 17, no. 4 (2023): 110–16. http://dx.doi.org/10.55502/the.2023.4.110.

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One of the leading figures of contemporary Romanian theatre, director Radu Afrim, has been working with Hungarian companies for more than a decade, producing more than a dozen performances, which has its own significance under the circumstances that in his director’s theatre, the text is never taken for granted, be it a pre-existing and pre-chosen dramatic text or the product of a collective effort. Nevertheless, due to his peculiar, non-hierarchical handling of all the theatrical devices, where equally intensive attention is accorded to each one of them, his productions always fall under the category of postdramatic theatre. We are dealing here with two aspects of contemporary Eastern European theatre: the blurring lines between director’s theatre and collective production and the multiethnic character of it. As an aesthetic experience, his performances may be best described using Gilles Deleuze’s terms of aspects and perceptions.

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Subotić, Irina. "The Role of Central European Avant-garde Reviews in the 1920s (Hungary, Poland, Czechoslovakia, Romania, Bulgaria and Yugoslavia)." Theatron 15, no. 4 (2021): 5–19. http://dx.doi.org/10.55502/the.2021.4.5.

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After the collapse of four empires during World War I, several new European states emerged, with new energy, anti-military and progressive attitudes among the youth, and shared optimism for a peaceful future. A new generation of writers, poets, artists, theorists, philosophers, architects, musicians, and film makers helped revitalize the cultural life in Central European countries (Poland, Czechoslovakia, Hungary, Romania, Yugoslavia and Bulgaria) in the early 1920s by publishing a variety of reviews that promoted new ideas and radical forms of expression, often linked to progressive social positions and leftists political influences. In spite of different orientations and local historical, cultural, social and political conditions, they often had similar objectives and clearly expressed attitudes about multinational and cosmopolitan culture, new forms and fresh approaches, with an ideological commitment to considering culture as primarily a social issue. The review editors exchanged articles, manifestos, poems, reproductions of plastic and applied arts, methods and practices in theatre, film, music, photography and architecture. They invented new media, organized international exhibitions, performances, conferences; participated in provocative activities and discussions and often shared similar artistic worldviews. Some were successful; others were banned for political reasons, but all were important elements in avant-garde movements of the time.

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Deres, Kornélia. "Community and Invisible Work at the Szkéné Collective: Methodological Questions on Researching Amateur Theatres during the 1960s and 1970s." Theatron 16, no. 4 (2022): 28–42. http://dx.doi.org/10.55502/the.2022.4.28.

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The essay aims at highlighting the methodological challenges of researching amateur theatres under Hungarian state socialism, including the accessibility of documents in official archives, leading and sometimes misleading narratives of historiography, and the emerging role of oral history interviews and personal collections. Focusing on the history of the university theatre at Budapest University of Technology, namely, the Szkéné Collective, the case study investigates the dynamics of invisible work, collective creation, and the role of female participants between 1962 and 1973. In order to acknowledge the role of community in amateur theatre practices, it is essential to readdress the hierarchical understanding of a collective, and search for the usually hidden stories of shared creativity and labour.

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Yousaf, Rehan, Jamshaid Ahmad, and Sumaira Sarwar. "THE PSYCHOLOGICAL DETERMINANTS OF LONG DISTANCE RUNNERS PERFORMANCE." SKY-International Journal of Physical Education and Sports Sciences (IJPESS) 1 (December 1, 2017): 50–60. http://dx.doi.org/10.51846/the-sky.v1i0.218.

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Generally the performance of the long distance runners is not progressing in Pakistan. There is lack of awareness of modern sports techniques in Pakistan to improve the abilities of a long distance runner. Psychological determinants can play a very important role to identify the weaknesses and strengths of the athletes. This study is helpful to understand the importance of different psychological determinants such as sports motivation, mental toughness and sports confidence in relation to performance. The long distance 83 athletes were selected from Punjab, Pakistan having average age of 27 years. Adopted questionnaire was used to collect the survey data. Findings of the study show that there is high positive and significant effect of sports confidence and sports motivation on sports performance while mental toughness effects negatively but significantly on sports performance. On the basis of these results, the study will help coaches for the psychological training of long distance runners which may enhance their performance in practice as well as in the competitions.

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Ali, Muhammad Safdar, Pro Dr Mohibullaha Khan Marwat, and Ghulam Shabbir Anjum. "Identification and Evaluation of the Aerobic Capacity of Athletic and Rowing Team Players of Islamabad City (The Capital of Pakistan)." SKY-International Journal of Physical Education and Sports Sciences (IJPESS), no. 1 (December 1, 2020): 109–17. http://dx.doi.org/10.51846/the-sky.v4i1.820.

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Aerobic capacity is dominant factor of every individual for attaining dominating performance in sports particularly to achieve optimum performance in the endurance sports. The aim of study was to assess the aerobic capacity of the players of Athletics and rowing team of Islamabad. Aerobic and anaerobic exercises can be beneficial for the fitness and depending on the intensity, duration and events. The mechanism of respiration and heart rate is differ in aerobic and anaerobic activities. Thirty athletes from middle and long distance events of track and field age group (23.9 ± 3.0) weight (64.13 ± 7.0) and thirty players of the rowing team age group (27.9 ± 4.1) weight (81.4 ± 8.7) from the Capital city Islamabad team were selected to investigate their aerobic capacity through the PACER (Progressive Aerobic Cardiovascular Endurance Run) test. The PACER test for both teams was conducted at the same time and in the same conditions. The data were recorded and tabulated in respect of both the teams. The SPSS version 21 was used to analyze the data by applying individual sample t- test. It is concluded that Peak values of VO2 max of athletics team (58.81% ± 3% l/min), were significantly higher (p<0,005) than rowing team players which had (55.29 % ± 3% l/min. Rowing players require higher degree of endurance for optimum achievements. The results indicated that peak values of VO2 max of athletics team is higher due to less body weight as compared to rowing team. Body weight has significant impact on aerobic capacity.

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Eperjesi, Ágnes. "The Photogram as a Medium of Art and Education." Theatron 15, no. 4 (2021): 20–29. http://dx.doi.org/10.55502/the.2021.4.20.

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The focus of this paper is the position of photogram in the avantgarde tradition. I explore the subtle changes in the conception of the photogram as a medium in the course of the avantgarde, neo-avantgarde and post-avantgarde using a lineage of Hungarian artists. For all three phases the photogram is more than just a tool to carry out an artistic program; it stands for an approach to educational methodology as well.

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Hertz, David Michael. "The Great Béla Bartók: An International and Interdisciplinary Perspective." Theatron 15, no. 4 (2021): 62–68. http://dx.doi.org/10.55502/the.2021.4.62.

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A 21st century review of Béla Bartók’s cultural position in the early twentieth century from an interdisciplinary point of view, first beginning with Bartók’s early musical training, then his theatre works, which involved the collaborations of such figures as Béla Balázs and Melchior Lendyl. Bartok’s familiarity with their thinking documents the impact of international Symbolist and Art Nouveau culture in his own formation, as well as the common interest in the folkloric elements incorporated by Bartók and others in this era. Also, Bartók’s achievement will be considered in relation to other significant composers on the international scene in the first half of the twentieth century, including figures such as Igor Stravinsky, Charles Ives, and Arnold Schoenberg. With special mention of Mihály Szegedy-Maszák’s writings on Béla Bartók, including his “Bartók’s Place in Cultural History.”

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Kiss, Gabriella. "Get involved! Krétakör: Crisis, Part III – The Priestess, 2011." Theatron 17, no. 4 (2023): 94–109. http://dx.doi.org/10.55502/the.2023.4.94.

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The twelfth production of the contemporary art centre Krétakör (Chalk Circle) was part of the “Crisis Project,” presented twice in its entirety and on view at the TRAFÓ House of Contemporary Arts, and the result of a societal therapy through interdisciplinary art. The current study reconstructs, employing the Philther Method, from the perspective of community theatre and education in theatre, this societal workshop. The analyses re-contextualise, for their own sake, the concept of participation by straining the boundaries of public education, understood as community art.

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Gajdó, Tamás. "Vígszínházi történetek – újraírva : Heltai Gyöngyi: Pesti magánszínházak a két világháború között. Transzatlanti hatások, lokális érdekvédelem. Budapest: L’Harmattan Kiadó, 2021." Theatron 16, no. 1 (2022): 140–44. http://dx.doi.org/10.55502/the.2022.1.140.

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The archives of the Víg Theatre survived the siege of Budapest unscathed in the Second World War, which Gyöngyi Heltai has been researching for a few years with passion and tirelessness. By raising new questions, she analyzes the sources of the most successful private theatre from a completely new perspective. In her latest book, Private Theatres in Pest Between the World Wars, she identified completely new aspects for the study of the Víg Theatre and the private theatres in the Hungarian capital. The book is indispensable, not only for those who want to examine the world of private theatres in Pest between the two world wars, but with its fresh approach and sure methodological foundations, one of the most significant works of recent years can be of interest to all those dealing with theatre.

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Kollár, Zsuzsanna. "Az akadémia hatása az intézményesülő magyar színjátszásra az 1830-as években." Theatron 16, no. 1 (2022): 93–112. http://dx.doi.org/10.55502/the.2022.1.93.

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From the beginning, the Hungarian Academy of Sciences considered it its task to oversee the Hungarian-speaking theatres. From the 1830’s the Academy tried to provide original dramas and translations, and the task of the “Standing Committee on Theatre” was to review the dramas and repertoire presented in permanent Hungarian-speaking theatres. Pest County also set up a permanent delegation, which exercised a supervisory role similar to that of the Academy. The directory board of the Magyar Theatre of Pest, that opened in 1837, and the body called the Acting Committee were also responsible for artistic and operational matters. These committees, looking at their model from the 18th century, hindered the institutionalization of the Hungarian-speaking theatre in various ways, albeit the Academy primarily sought to provide professional assistance to a developing social institution. This paper presents the connection between the Academy and the Hungarian-speaking theater from the point of view of institutional history.

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Kelemen, Kristóf. "„A sok nevetéstől szabad légkör alakult ki.” Háy Gyula dramaturgosztálya a Színművészeti Főiskolán az ’50-es évek első felében : Beszélgetés Bíró Zsuzsával 2019. április 26-án, Budapesten." Theatron 16, no. 1 (2022): 3–21. http://dx.doi.org/10.55502/the.2022.1.3.

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Bonczidai, Dezső. "Vasilache, a román vásári kesztyűs bábjáték hőse." Theatron 16, no. 1 (2022): 64–81. http://dx.doi.org/10.55502/the.2022.1.64.

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In my paper I will be talking about the evolution of the Romanian fair hand-puppet plays, the relationship of its hero, Vasilache, and the Karagöz plays, the appearance of Vasilache at fairs and tourneys, and the Vasilache and Mărioara plays after the regime change of ’89. The Romanian fair puppet plays splintered from puppet, and later religious puppet plays, to become an autonomous play style. According to Romanian researchers the play of puppets simplified over the course of time, and then crystallized to be the Vasilache and Mărioara show. By analyzing the traditional Romanian folk puppet hero’s evolutional history, we can note that the playing tradition was passed down from generation to generation, and the script was never written down. Current research data shows that we do not possess any evidence of folk puppeteers to have had a permanent playing spot. Furthermore, the data we have about their activities is as sporadic as the physical objects we are left with. It is very hard to reconstruct the original, traditional playing form of the folk puppeteers. The last folk puppeteer’s death caused the traditional form of the play to come to an end, the authentic style of the shows was not passed unto the next generation. Although the relevance of the Vasilache character has vanished from the puppet theater, it pops up in the repertoire of individual puppeteers, and occasionally puppet theaters.

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Szabó-Székely, Ármin. "Wass Albert – Vidnyánszky Attila: Tizenhárom almafa, 2020." Theatron 16, no. 1 (2022): 131–39. http://dx.doi.org/10.55502/the.2022.1.131.

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The study examines the theatrical adaptation of a defining event in Hungarian history from the point of view of theatre aesthetics and the politics of memory and identity. In the 2019/20 season a theatrical representation of the Treaty of Trianon was not only made necessary by the centenary, but also by the ideological and cultural-political position of the National Theatre under the directorship of Attila Vidnyánszky. A commitment to national heroes, symbols, and mythologies, a desire to build rather than deconstruct national consciousness has shaped the theatre’s repertoire in visible ways. The central figure of Thirteen Apple Trees, written by Albert Wass, is meant to represent a specific and defined mentality, the “Székely”, who does not ever change, even if the borders of the country are drawn across his own land. The focus of the performance on Trianon makes the question of identification somewhat confusing: in the first part, the Székely identity is offered as a model, and this viewpoint is in tension with the clearly Hungarian-centred interpretation of Trianon in the second part, which idealises the historical role of Hungarians.

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Korsós, Noémi. "Újragondolt játékszabályok : A devised színház megkülönböztető jegyeinek feltérképezése kortárs magyar alkotófolyamatok vizsgálata során." Theatron 16, no. 1 (2022): 55–63. http://dx.doi.org/10.55502/the.2022.1.55.

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In the following article I will approach the concept of devised theatre by analysing two performances and their creative process. As part of the study, I will juxtapose Reactor’s 99.6% performance with the Kerekasztal Kéksziget theatre in education programme. In the article I seek to answer the question of what justifies the rethinking of the creative strategy, and what it might reveal to the viewer. Through illustrative examples, it becomes clear that devised theatre operates different aesthetic dimensions than representative theatre, as part of the creative process it rethinks the position of the audience, and requires a more direct and intimate presence from the players. Through the devised strategy, the fragmentation of our understanding and experience of our culture can now become an object of reflection. The devised theatre movement marks a shift in creative approach that reinterprets the structure of theatre.

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Szabó, Zsófia. "„A kerítésen azt harsogta a plakát...” Reklám és ismeretterjesztés a kaposvári Csiky Gergely Színház történetében." Theatron 16, no. 1 (2022): 113–30. http://dx.doi.org/10.55502/the.2022.1.113.

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Today, there are many different advertising forms and media available to share information, whereas in the past, theatres often promoted their production at the time on a single sheet of paper. Playbills, posters, and brochures tried to impress audiences with the title of the play and the names of the creators (author, actors, director, etc.), and then these prints became more spectacular and richer in visual elements. As Marvin Carlson pointed out, these advertisements did not only serve as invitations but also helped the audience to interpret the performance. In this paper, I study the brochures and posters of the Csiky Gergely Theatre in Kaposvár. In the 1970s, the theatre employed talented editors and versatile artists who were involved in the graphic design of the printed materials. Focusing on the visual communication of these publications, I examine the possible processes of reception, promotion, and audience education.

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Varga, Nóra. "Mindennapi határértékeink : A figuraszínház dokumentumszínházi lehetőségei a belga „L’Herbe de l’oubli" című előadás elemzésén keresztül." Theatron 16, no. 1 (2022): 82–92. http://dx.doi.org/10.55502/the.2022.1.82.

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In the following paper, through the analysis of the Belgian performance L’Herbe de l’oubli, I examine how the elements of the theatre of figures (such as the manipulation of puppets) could respond to the challenges of documentary theatre. The performance of Point Zéro company (written and directed by Jean-Michel d’Hoop, premiered in 2018) discusses some elemental ethical and political questions about the use of nuclear power. It introduces the audience to the everyday life of families living in the extended zone of Chernobyl. The piece combines videography, puppets, and interview-fragments of the habitants from the contaminated areas. One of my goals is to raise attention to a production I find extremely important and to promote a theatrical genre, the intertwined figure-documentary theatre, that has endless possibilities and is not yet represented in Hungary.

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Váradi, Ágnes. "Színházról tanároknak : D. Magyari Imre: Miért jó nekünk, ha színházban megnézzük, hogy másoknak rossz? Külföldi drámák előadásairól. Budapest: Corvina Kiadó, 2020." Theatron 16, no. 1 (2022): 145–50. http://dx.doi.org/10.55502/the.2022.1.145.

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In Why is it good for us to go to the theatre to see that it is wrong for others? About the performance of foreign dramas, the author Imre D. Magyari presents forty-four foreign dramas, with the unique authorial gesture of choosing from plays performed between 2016 and 2020, mostly in Budapest theatres, not as a theatre critic but as a Hungarian language teacher and theatre enthusiast spectator. The writings in this volume are sometimes expanded, sometimes slightly edited versions of his analyses published in Criticai Lapok since 2015. In the volume, the drama and performance analyses are presented in chronological order according to the plays’ date of creation: forming a kind of subjective drama history. The nearly fifty dramatic analyses are a unique combination of several text types, thus, at the same time they offer a description of a performance (lacking the technicality of analysis), a synopsis, a dramatic analysis, a dramatic interpretation, and sometimes essays on theatre or cultural history. If the author’s intentions are well understood, the dramatic interpretations would really be put into practice in teaching, so the volume would be intended as a reference book/source of ideas for teachers.

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Bakk, Ágnes Karolina. "Immerzív színház analóg terekben – görbe tükrökkel." Theatron 16, no. 1 (2022): 44–54. http://dx.doi.org/10.55502/the.2022.1.44.

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In this paper, I discuss the reasons why the concept of immersion became more prominent in the last decade. I also offer an argument why immersive theatre should be considered as a separate genre, one which is informed by the traditional theatrical formats but puts the audience in the center of the artwork. I analyze in detail two performances of the Danish-Austrian theatre company, SIGNA: Wir Hunde/Us Dogs and Das Heuvolk. I will point out how important the processes of the audience’s onboarding and the creation of the atmosphere are in immersive theatre to produce more engaging experiences. I will conclude the paper with a discussion of how SIGNA’s performances encompass these characteristics and how they also offer a reflection of our society and hierarchical structures.

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Antal, Klaudia. "Gondolatok a részvétel fogalmáról és a vitaszínház gyakorlatáról." Theatron 16, no. 1 (2022): 31–43. http://dx.doi.org/10.55502/the.2022.1.31.

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Nowadays, the word participation is a frequently used term in the scientific, artistic, and social policy discourse. Its popularity contributed to making it a cliché, but participation is “too serious and ambivalent a matter to be taken lightly”, as Majid Rahnema writes in his study, Participation. In this paper, I take a closer look at the concept of participation and the practice of debate theatre to explore how the participative form of debate theatre contributes to the awakening of the demand for an active citizenship, for the life of vita activa.

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Bethlenfalvy, Ádám, László Kaposi, and Gabriella Kiss. "Színház-e mind? Széttartó gondolatok Gavin Bolton utolsó írásáról." Theatron 16, no. 1 (2022): 22–30. http://dx.doi.org/10.55502/the.2022.1.22.

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Gavin Bolton’s most recently published paper It’s all theatre was published in Hungarian translation in 2021. Bolton has been one of the most influential theorists of Drama in Education and has also had a great impact in this field in Hungary. In this review three experts reflect on Bolton’s suggestion in his latest article, namely that drama teachers should consider perceiving their work as theatre. The reviews also reflect on Bolton’s lifetime achievements which provide the context for his paper.

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Adamovich, Ferenc. "Affektív mozgáspedagógia." Theatron 16, no. 2 (2022): 70–80. http://dx.doi.org/10.55502/the.2022.2.70.

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Kézér, Gabriella. "Berczik Sára életpályája." Theatron 16, no. 2 (2022): 47–59. http://dx.doi.org/10.55502/the.2022.2.47.

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Fekete, Norbert. "A tragikus tudásról : Hojdák Gergely. A tragédia színeváltozása: Tragikum és medialitás a késő romantikus magyar irodalomban. Budapest: Gondolat Kiadó, 2021. 356 p." Theatron 16, no. 2 (2022): 130–35. http://dx.doi.org/10.55502/the.2022.2.130.

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Rajnai, Edit. "„A szocialista revű mint kutatási probléma” : Molnár Dániel. Vörös csillagok: A Rákosi-korszak szórakoztatóipara és a szocialista revűk. Budapest: Ráció Kiadó, 2019. 494 p." Theatron 16, no. 2 (2022): 136–41. http://dx.doi.org/10.55502/the.2022.2.136.

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40

Kiss, Gabriella. "Aki mindig a Másikat kereste... (Hans-Thies Lehmann, 1944–2022)." Theatron 16, no. 2 (2022): 3–5. http://dx.doi.org/10.55502/the.2022.2.3.

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41

Zsigó, Anna. "Átlelkesült dramaturgia : Radnóti Zsuzsa. Megmozdult irodalom: Válogatás Radnóti Zsuzsa írásaiból és közéleti megszólalásaiból. Összeállította és szerkesztette Légrádi Gergely. Budapest: Kossuth Kiadó, 2021. 432 p." Theatron 16, no. 2 (2022): 125–29. http://dx.doi.org/10.55502/the.2022.2.125.

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Cselle, Gabriella. "Janka/Virág/Kata/Nati/Nóri : Pass Andrea. Eltűnő ingerek és más színdarabok. Budapest: Selinunte Kiadó, 2021. 302 p." Theatron 16, no. 2 (2022): 148–51. http://dx.doi.org/10.55502/the.2022.2.148.

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Porogi, Dorka. "„Alice voltam Csodaországban” Monori Lili pályája a Szentkirályi Műhely előtt : Porogi Dorka email-interjúja Monori Lilivel, 2020. június 5. és július 13. között (részletek)." Theatron 16, no. 2 (2022): 108–24. http://dx.doi.org/10.55502/the.2022.2.108.

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Gál, Eszter. "A mejerholdi biomechanika és a kontaktimprovizáció." Theatron 16, no. 2 (2022): 26–33. http://dx.doi.org/10.55502/the.2022.2.26.

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Sifter, Veronika. "Bóta Ildikó, Potoczky Gábor: Fény-űzők, 2003." Theatron 16, no. 2 (2022): 60–69. http://dx.doi.org/10.55502/the.2022.2.60.

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Závada, Péter. "A fenomenológia és a színháztudomány viszonya." Theatron 16, no. 2 (2022): 6–13. http://dx.doi.org/10.55502/the.2022.2.6.

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Cseh, Dávid Sándor. "Út a beteljesedéshez : A dzso-ha-kjú ritmus szerepéről a hagyományos japán nó-játékban Zeami Motokijo Súgjoku tokka című tanítása nyomán." Theatron 16, no. 2 (2022): 94–107. http://dx.doi.org/10.55502/the.2022.2.94.

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Doma, Petra. "Férfiak és nők: az onnagata-vita jelentősége és hatása a kabukira." Theatron 16, no. 2 (2022): 81–93. http://dx.doi.org/10.55502/the.2022.2.81.

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Bezsán, Noémi. "Az erdélyi táncszínházi háló felépítése." Theatron 16, no. 2 (2022): 34–46. http://dx.doi.org/10.55502/the.2022.2.34.

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Farkas, Noémi. "Rekonstruált örökségek : Három színháztörténeti kiadvány." Theatron 16, no. 2 (2022): 142–47. http://dx.doi.org/10.55502/the.2022.2.142.

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