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TABLE OF CONTENTS
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Introduction: Philther as a Historiographic Model ................... 7
A Refashioned Image of Revolution as Musical Theatre
Endre Marton: Students of Vienna, 1949 ...................... 21
Militarizing Operetta, or Theatre Criticism as War Propaganda
Kálmán Nádasdy and Géza Pártos: Free Wind, 1950................ 41
A Campaign Contribution Becomes a Lasting Lesson
Imre Apäthy: Orpheus, 1952 ............................. 59
Freedom Fight for Love, an Excellent Farce and Some Music by Lehar
András Mikó and György Székely: The Count of Luxembourg, 1952 ....... 75
The Final Performance of the Old National Theatre
Endre Marton: King Lear, 1964. ........................... 95
The Drama of Incompleteness Declared to be Complete
Endre Marton: The Death of Marat, 1966..................... 105
From Idol Destruction to Idolatry
Endre Marton: Chapters on Lenin, 1970. ..................... 121
The Shifting Point of Fear and Trembling
Georgy Tovstonogov: The Government Inspector, 1973 ............. 135
A Bitter Farce of Losing Political Ideals
Imre Kerényi: King John, 1984........................... 151
Patriotism Turned into Social Issue
Imre Kerényi: Stephen the King, 1985....................... 163
Remembrance of a Landmark in Theatre History
Tamäs Ascher: Three Sisters, 1985......................... 177
The Tragic of “Vital Hatred”
Gabor Székely: The Misanthrope, 1988 ...................... 189
Works Cited....................................... 197