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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. 78: a 78 a 78 S 78 00 78 ©
