Bitef

mankind’s future whereas the idea of heroic fight is never fading. In this deep contradictions of the age are reflected. (1883 in the Hungarian National Theatre was its first staging). Eventful times following the composition of The Tragedy of man called Madách to the scene of public life. By his county he was elected an MP for the session of the Diet 1861. In his Political Confession published at that time reference was made to Kossuth and the triple slogan of bourgeois revolutions.

Lukâcs

(passage Imre Madach) .. . neither he had a living philosophycal culture despite his great philosophycal erudition and the depth of his thoughts. His thoughts remained what they were and never came to realisation, they never became dramatic. In The Tragedy of Man thoughts and their demonstration are apart artistically. By every action a cosmologie thought or one of universal history is symbolized or illustrated, however, not melting in it entirely bit remaining aloof. Every scene is a beautiful allegoric expression

of a deep thought but the symbllic way is the only one to express them dramatically. Thus Madach' s poem is not a drama. From the point of view of demonstration it is epic: the unity of the heroe’s person serves as a bond among the colourful advantures. From the point of view of expressing the substance it is a paraphrased didactic poem: thoughts remain thoughts, the fight is a debate at the most ( where the external fight is not more than an illustration thereof), dialectics is merely intellectual, not yet dramatic . . .

( György Lukács:

Hungarian literature Hungarian Culture, Selected Studies. Budapest, 1970. Gondolât 37 — 38. p).

Costumes

Theatre material comprises the presence of both actors and public, movements, speech, text, music, space, lighting, duration, rhytm etc. It is the field of force created by the producer’s world concept, power, idiosyncrasy which keeps diverging lines together. He is choosing and forming. The designer has to outdistance the creating procedure. She has to afford possibilities for the play

which are exclusive, non-recurrent and unleash vision as well fantasy. Costume is to be understood from the hairs down to the soles of an actor and further to the aura surrounding him. Movements to be expected, possibilities of ligthing all get a word in designing. The actor is a statue: alive and even more than that. He is moving in its real and special space, in its real and special time. The using of his body, the way of his wrapping or stripping as a good requisite has to help him run his course whereby the performance attains its aim namely THE A TRE is brought about. In the small house of 25TH THEATRE public and actors are within easy reach of each other. This effect is still increased by the exchange of auditorium and the play area, namely spectators walk through the stage when they come in. The wrapping of stage M-A-D-A-C-H is of a shade of the human skin colour. Costumes of the second part the world down emerge from dark brown with scarlet transitions into a crude white reaching heads and shoulders. Moving bodies are thrown against the colour of surrounding dark at their feet and light at their shoulder. Colourful silk- wrappings and rosy-faced blue-eyed masks are worn only in the world seen from above. The fine arts of the sixties have made valid again nearly every visual form brought about gradually by the 20th century. Hence a stage spectacle is not made up-to-date by a given style but by the creator’s attitude that had brought it to life. Whether he is capable of creating a new world with its own rules and regulations which would be, at the same time, field, medium and former for the whole, THEATRE.

Ilona Keserü

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