Oldal 27 [27]
OCR
ENDRE MARTON: STUDENTS OF VIENNA, 1949 to the ancient mime theatre and merely becrippled by the bourgeois era when "the humorous genre of folk truthfulness began to lie under the command of its new protector". ?" The new regime tried to get a mountain out of the way in the field of theatre, since at the time of the accusations against the genre, “nearly 80 percent of the repertory was operettas, and the proportion of Soviet plays was dwarfed, about 5 percent. According to statistics from the 1948-1949 season, [...] out of 4,275 performances in the countryside were 3,208 operettas [...]. In the new season, the ratio of prose to operetta had to be drastically changed, so that it would be two-thirds to one-third.”** Market conditions were overridden in order to make room for Soviet plays, which was supported by the sharpened contrast between “the frivolity of our operettas” and “the healthy, upbeat optimism and revolutionary romanticism of Soviet operettas”,*’ distilled mainly from Captain Bought on Tobacco and some musical films." However, the nationalized Operetta Theatre did not take a complete turn. It did not open with a Soviet operetta, but rather with a musical play saturated with revolutionary heat (Students of Vienna),"' followed by a classic updated from a political point of view (Ihe Grand Duchess of Gerolstein). They prepared the ground for Free Wind, the first Soviet play at the Operetta Theatre, set on stage only towards the end of the season. Set in the fall of 1848, Students of Vienna affirmed the refashioning of the 1848-1849 events, carried out in 1948 by officials of the Hungarian Communist Party, before the centenary of the former bourgeois revolution was celebrated.” When Margit Gaspar’s refashioned idea of operetta condemned Margit Gaspar: Az operett, Budapest, Népszava, 1949, 8. — This “myth of origin” was detailed in some 500 pages in Margit Gáspárs book, A múzsák neveletlen gyermeke. A könnyűzenés színpad kétezer éve (Budapest, Zeneműkiadó, 1963). Korossy: Színházirányítás, 88. Fejér: Kapunyitás, 6. Cf. "We got acguainted with the first forms of Soviet operetta through musical films. The artistic possibilities of operetta were first demonstrated by the operetta-like musical films that came to us: The Ballad of Siberia, Volga-Volga, They Met in Moscow.” Margit Gaspar: A kénnyii miifaj kérdései, Typed manuscript, 10. Location: Hungarian Theatre Museum and Institute, Margit Gäspär’s heritage, No. 229/1994. Cf. “Our revolutionary traditions mostly date back to 1848, and we wanted to pay homage to these traditions with this play.” Semsei, in Az operett kerdeseiröl, 4. Cf. “Ihe communist party was already preparing for autocracy and the political choreography of the celebrations was aimed at the party’s placing itself in a historical context and demonstrating that it is the only reliable custodian of revolutionary and freedom-fighting traditions. [...] It attempted to turn the former bourgeois revolution into a ‘people’s democratic’ revolution and to mask the struggle for freedom as a people’s rebellion against foreign (i.e. Habsburg, topically German) oppression. The leaders of the past events, mostly of noble birth (István Széchenyi, Lajos Batthyány, Bertalan Szemere, Ferenc Deák, László Teleki) were tried to be replaced" and consigned to oblivion by emphasizing the role of personalities of popular origin (Sándor Petőfi, Mihály Táncsics). It was claimed that the revolutionary transformation, conducted by the communists, 41 42 s 25 e
