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TABLE OF CONTENTS —to> 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
