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stavni kostimi daju osnov i ritam predstave. Georges Scblocker Die Welt, 16. 6. 1971. 27. 9. 1971. Pozorište se useljava u svoj konačni dom. Pozorište može da primi 100 gledalaca. Pozornica se može menjati. Pozorište ima sedam stalnih glumaca, ostale uloge igraju članovi amaterskog studija pozorišta ili studenti Akademije. 25. 11. 1971. Hernàdi Jancsó »Sjajni vetrovi« Režiser Jancsó Miklós 24. 2. 1972. Fekete Sàndor »Termidor« Režiseir Mezeì Èva istorija nije fabrika primera koja isporučuje lažne analogije za opravdanje cinizma I odricanja. Nasi preci nisu umirali u zatvorima, pod giljotinom ili na vešalima, da bismo mi od toga stvorili razlog za naša jalova dimljenja, nego zato da sve učinimo da istorija ne bude onakva kakva je bila. Fekete Sàndor 27. 4. 1972. Gyurkó Lészló Elektra, moja Ijubav Režiser Szigeti Kéroly Lik Elektre je tako drevan kao i kultura Evrope. Mit o Elektri zapošljava pisce milenijumima, jer je Elektrin problem, problem i danas. Naime, Elektra je nesposobna za oportunizam, ona je oličenje čoveka koji je za svoje ideale spreman da žrtvuje sve. Ovu opsesiju potrage za istinom, pisci raznih doba su i različito ocenjivalì. Deio »Elektra, moja ijubavl«, zato smo i postavili na scenu, jer oseóamo da je ovaj problem i danas osnovan. (Gyurko Laszlo)

jansco miklos Janscó Miklós je roden 1921. godine u Vacu. Važniji filmovi Jancsó Miklós-a: Zvona su otišla za Rim (1958), Besmrtnost (1959), Točak vremena (1961), Vezivanje i odvezivanje (1963), Tako sam došao (1964), Siromašni momci (1965 —66), Zvezde 1 vojnici (1967), Tišina i uzvik (1967) Sjajni vetrovi (1968), Siroko (1969), Nebesko jagnje (1970), Pacifista (1970) italijanska kopr. Atila (1971) italijanska kopr. Dok narod moli (1971).

gyula hernadi Hernadi Gyula je roden 1926. godine u Oroszvaru Prozna delà Daščani manastir (1959), Na stepenicima Petka (1959), Hodnici (1966), Suvi barok (1967), široko (1969), Utvrđenje (1971), Knjige scenarija Ovako sam došao, Siromašni momci, Zvezde i vojnioi. lisina i uzvik, Sjajni vetrovi, Dolina, Siroko, Nebesko jagnje, Dok narod moli. Pozorišni komadi Sjajni vetrovi (1971), Falanster (1972).

political musical » .. Miklós Jancsó was the first derector, who had the opportunity to create his own style on the stage, too. I do believe that it was good coincidence, because Jancsó's films do not lack of theatralism. In his latest film »Agnus Dei« (Egi bârany) it seems to me, that he attained the Wagnerian »Gesammkunst«, at least some details of the film suggested it. Jancsó’s talent had always supposed somehow the stage, and I daresay, it wouldn’t be unuseful for our theatre-art to make this connection more regular. It seemed to be strange that »Contestation« got on stage after the film version. Though Stanley Kramer's film »The Defiant Ones« had been staged in the Gorky Theatre (Leningrad) following the scenarion of Douglas and Smith. Fellini’s film »Nights of Cabiria« had been also transformed to a musical comedy, titled »Sweet Charyty« ... ... The Contestation« shocks the spectators, not wirth rattle, howls and violence effect of the »panictheatre«, but throughts. It shocks wirt throughts condensed from moving. But first of ail it affects wirt confrontation, and with changing of the aspects. Music got new role, too, that is its old one. Folk songs, labour-movement's hits, Warsawianka. the March of the Spanish International Brigades, Jugoslavian partizan march and the Carmognole were sounded enthusiastically, merrily, menancingly, woefully, hopefully and hopelessly. Does it mean that »Contestation« is a musical comedy? Yes. The film was

it, too. Though, nobody mentioned or analyzed, it, being wrapped up in theoretical debates. »Contestation« on the stage and the film as well widened the dramaturgical possibility of musical comedy, and created the political-musical« (Peter G. Molnâr, Kortârs 1972. February)

confrontation » .. .It is intelligible that the younger generation would like to deviate from traditions. This is why the performance of »Contestation« has a great succès. »Contestation« as a film was directed by Miklós Jancsó some years ago and there was a heasted debate on it at that time. The plot take piace in the years, following the war. The pupils of a people's college, that was widespreaded at that time, beset a theological seminary. (By the way soma of the pupils later formed the party-elit.) Pupils on the stage are debating on marxism, revolution and power. They use violence, too and so it comes out: one achieves power that find oneself face to face with the temptation of terror. On the stage Jancsó made an effort to perform his problem in a different way reviving the story from the aspect of today. With young men, only some of them is professional actor, Jancsó tried out every style-means, which one can see on the west »underground« stages of late decades. The elements we know from »La Mamma« or »Hair« now are completed wtih the style-means of the old expressionist theatre: such as rhitmacal movement, clapping, and singing. The problem of the play is highly interesting, it denotes, where Is Hundgary going today. It Is the typical symptom of the Hungarian political atmosphere that the play is debating so plainly on mechanism of the revolutional power and violence. (Otto F. Beer, Die Zeit, 21. 1. 1971.)