Oldal 53 [53]
OCR
KÁLMÁN NÁDASDY AND GÉZA PÁRTOS: FREE WIND, 1950 (temporarily) turning its back on the star system," and in the convergence P y g y 8 of realist acting and the tradition of playing operettas. Reviewers also noticed “the nuanced art of some actors’ skills”, and appreciated the avoidance of old manners, which helped the directors make people “live on stage”.'*° However, they still found plenty of “old theatrical tricks, especially in the bar scenes”.’®” The “great and realistic movement” of the choir, i.e. the development in handling the crowd, which had not been seen before, was said to be a merit of the mise-en-scéne.'* Four actresses also initiated a “movement” in order to make the crowd live. Having recognized the importance of the crowd, they wanted to be part of it to provide assistance to extras.!?° However, the critic of Szabad Nep still felt this effort insufficient and reproached the crowd for “not living on stage, but remaining a group of static extras.”!” In any case, the work of the two directors could indeed be focused on the coordination of those scenes that required considerable human resources, as it was the main virtue of both Nädasdy and Pärtos. In addition, critics’ attention was drawn to the elimination of "sweet sentimentalism" and cheap humor." They also appreciated the strong atmosphere,’ but valued “the impressively underlined political message” much more than the sensual experience of the production.’ It was this “underlining” that the Soviet conduct, to which we find several references in the press, could have influenced.'”* However, given the text and music tailored to domestic conditions, it is difficult to imagine what this conduct helped to do except performing a compulsory task. 18 a Cf. “I saw a slice of life on stage, the characters were living people. The prima donna had no entrée, it was something out of the ordinary, and there was another great advantage of the play: I didn’t see any stars in it. | saw an operetta ensemble with actors playing the smallest, silent parts as enthusiastically as any of the protagonists. It is certainly an important achievement of the mise-en-scéne.” Speech by Kalman Perényi, Szövetségi vita, 8. Jemnitz: Szabad szél, 4. 187 L.J.: Szabad szél, 6. 188 Horvai, Szövetségi vita,25. As the crowd plays an active role in Free Wind, Ilona Dajbukát, Jolán Mátyás, Lili Murányi and Fili Rajnai wanted to overcome the limitations of the production of The Grand Duchess of Gerolstein. “The crowd had been standing still there and accepted the fact that they would not get bread because it was a holiday. There had been no protest at all.” Speech by Lili Murányi, Szövetségi vita, 18. 190 L.J.: Szabad szél, 6. 191 Fogarasi: Szabad szél, 484. — "While we had been frequently immersed in endless dialogues of the comedians, full of old and older jokes in previous shows of the theatre, this time you could enjoy the work of artists who used their talent with vigor and enthusiasm for the success of the production.” Ibid. E.g. “you can feel the suppressed mood of revolution in the first scene, foreshadowing the rest of the plot.” Speech by Jenö Krausz, industrial worker, Szévetségi vita, 13-14. Matrai-Betegh: Szabad szél, 5. Cf. “We received a lot of advice on several phone calls from the Moscow director of the play and felt that we took another step forward with the help of the Soviet Union.” Ratonyi: Merre tart a vidim müfaj?, 68. - When the Soviet composer, Yuri Milyutin visited the Budapest production of The Count of Luxembourg three years later, Margit Gaspar also referred 186 00 189 2 192 19: bj 194 +5] +
