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IMRE KERÉNYI: KING JOHN, 1984 of direction caused by the “detachment” of the Katona József Theatre, in the attempt to round up some new forces. As the Katona took over Exercises in Style by Raymond Queneau from Odry Stage, which ran for nearly 200 performances in the following years with three excellent actors (János Bán, György Dörner and Sándor Gáspár), the Castle Iheatre also took over King John (though its performance style was very alien to this theatre) with the intention of renewal. Ihere was a difference, however, for in the latter case "the production did not come back to life unchanged"."" It remained mostly “in the hands of former college students who had signed up for the National, while other roles were given to well-known members of the company.””*° DRAMATIC TEXT, DRAMATURGY In the production of the National Theatre, Diirrenmatt’s historical pamphlet came to life as the drama of losing political ideals, both mockingly exaggerated and tragically deepened. Imre Kerényi’s mise-en-scéne underscored that particular characteristic of the Swiss author’s play that (contrary to the Shakespearean pretext) it focused on “the struggle for power within a system (i.e. feudalism)”,”’ instead of the Anglo-French antagonism.” As for the adaptation, it is the pungent irony and farcical overtones of the ruthless unmasking of “the political circus without inhibitions, morals and humanity” that 78 Tamas Mészaros: A korszerűtlen ésszerűség. Dürrenmatt a Várszínházban, Magyar Hírlap, Vol. 17, No. 276, 24'" November, 1984, 7. 746 Tbid. 747 Anna Foldes: Janos kirdly a Varszinhazban, N6k Lapja, Vol. 36, No. 48, 8 December, 1984, 22. ™8 That’s why Jézsef Ruszt, who slightly criticized the production, said that he did not like Diirrenmatt’s adaptation and obviously had a bias in favor of Shakespeare’s play. He added that “Shakespeare remains in his own historical context. Diirrenmatt is full of overtones that are completely present-day, but I cannot get an answer to today’s questions. [...] In fact, it contains neither the present nor the past. [...] I do not consider patriotism to be outdated at all. Shakespeare’s play is about a bastard protecting England if he has to, standing firmly on the shore at Dover. This idea is missing from Dürrenmatt. [...] It is not anachronisms that are problematic here, but patriotism, which we find in Shakespeare. Dürrenmatt had not created as much value in his play as he had left out of Shakespeare. [...] I like plays that explore troubles with joy, pain, power and intellect, if you like, so with all that you can really live with. [...] In Dürrenmatt, the theme of the play gets in conflict with cosmopolitism. Why should I joke about the rivalry of great powers when I live in the middle of it on one side?! Unfortunately, I do not have so much humor. [...] For Dürrenmatt, the story is just apropos of drawing this fantastic, scary caricature of world politics. [...] Shakespeare’s play is more real. It is truer.” Gabor P. Horvath: Szinhazr6l fiataloknak. Ruszt József a János király várszínházi előadásáról, Magyar Ifjúság, Vol. 29, No. 14, 5" April, 1985, 29. — It was only József Ruszt who had staged Shakespeare’s King John in Hungary (in Kecskemet, in 1975) after its premiere at the National Theatre in 1906. 79 Istvan Takacs: A hatalom körforgása, Pest Megyei Hírlap, Vol. 28, No. 270, 174 November, 1984, 4. — Cf. also "John and Philip, the King of France are fighting their power rivalry, their dynastic struggle, like a friendly sporting match. While thousands of soldiers are killed on
