Oldal 161 [161]
IMRE KERÉNYI: KING JOHN, 1984
more multilayered’# and the elements of realist acting had been more bravely
reshaped by means of irony and stylization.”** But Diirrenmatt’s parable was
conveyed with such “sensuous intensity”’# even in moments of caricature as
before, “giving an accurate portrayal of each figure”.7#
Hirtling, for example, based the extravagance of the comedian-king
on the eagerness and vehemence of a “lanky young man”,’®’ continuously
turning John’s excessive manners and declamatory style into overacting
(consciously, of course, in a reflected way), “simultaneously conjuring up a
kind of Shakespearean tone and drowning the elevated style into irony”.’®®
In contrast to him, yet in pair, Funtek displayed the bastard’s passion and
obsessive rationalism with amazing ardor, and portrayed an attractively
casual, but never harsh character articulating deep feelings.””’ Behind these
two figures, Pal Macsai made Pembroke almost invisible: he played the
minister with measured movement and repulsive manners, yet “serving in
a smooth, unnoticed way”.””° Despite his frequent appearances, he barely
spoke, so that the “punchline” of his part would be more effective.””! After the
death of John, who had been poisoned by him, he savagely ruffled his own hair
and winked at the spectators, as if they were his silent accomplices. Then he
grabbed the crown and limped out clowning, mimicking Isabel, John’s lame
wife while singing her name.
Among older members of the National, reviewers highlighted Eva Vass
for providing “the persiflage or ironic quintessence of both the dramatic
783 Cf. “The handling of the material by individual actors shed light on appropriate differences.
Zsigmond Fülöps Philip, the King of France is a witty figure of a French farce. Zoltan Nagy’s
Pandulpho is surrounded by Bernard Shaw’s sarcasm. Anna Kubik proudly reveals the slut
she has become as a victim of politics, like some Brechtian prostitute. Eva Vass combines the
blatancy of a washerwoman and a queen, stylizing it pantomimically, as if she were using an
oriental acting technique.” Koltai: Kicsontozott kirälydräma, 29.
784 Cf. “Whatever Western notions about Socialist Realism on stage in Eastern Europe may be,
it is not much in evidence in these productions [namely King John and Richard II, another
production of the Castle Theatre].” Glenn Loney: English Shakespeare: Serving Up the
Playwright with a Dash of Paprika, Shakespeare Bulletin, Vol 4. No. 4. July/August 1986, 21.
Mészáros: A komédiás uralkodik, 6.
Sándor: Álkérdések helyett, 17.
(bogácsi): Két vizsgaelőadás, 3.
Mészáros: A komédiás uralkodik, 6.
Cf. "Frigyes Funtek is a real plebeian Bastard. He is a cool vagabond, yet he has a noble
heart. He is full of patriotic passion, vulnerability and disillusionment." Koltai: Kicsontozott
királydráma, 29. - “This young actor literally bursts onto the stage in the role of the Bastard,
and his similarity [to John] will be perceived by the same physical condition and age. [...]
He plays, he experiences the greatest drama alone. All that is irrelevant or ridiculous to
others, become the meaning of his existence and task. He is a monologue hero, who can
make confessions only on the proscenium, or can only be honest over a dead child, and
Funtek is good at this test, he has learned the lesson of solitary dramatic situations.” Gyérgy:
Fejezet a zsarnoksägröl, 9-10.
7% (bogäcsi): Ket vizsgaelöadäs, 3.
791 Almási: Példabeszédek, 7.
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