Oldal 238 [238]
OCR
ABSTRACTS BENCE IVÁNYI A puppet theater of mysteries. Janos Pilinszky’s aesthetics of theatre in The Annunciation of Mary by Zita Szenteczki In the first part of this paper, I will propose a hermeneutic analysis of Janos Pilinszky’s theoretical thinking about theatre, mainly based on his essays and on the text of Conversations with Sheryl Sutton, his famous ,novel of a dialogue”. I will explain some of his cardinal concepts, for example the notions of mimicry, presence and beauty, with the help of the aesthetic work of various continental thinkers: Gadamer, Heidegger, Hartmann and Simone Weil. At the end of the chapter, I will give an original interpretation on the relations that Pilinszky’s philosophy has with the concept of mimesis, Konstantin Stanislavski’s ‘system’ and the theatrical culture of consumer society. In the second part, I will demonstrate that this specific theatrical approach is able to function as a productive way of interpretative framing as well: I will examine Stúdió K Iheatres Angyali üdvözlet |The Annunciation of Mary], directed by Zita Szenteczki, in the light of Pilinszky’s theatrical vision. At the same time, I will do a theoretical mapping on what are the correlations between the theatre of animation and objective poetry. ARANKA KEMENY Lyric and document. The poet Janos Pilinszky on film “Lyric and Document” - this is how Pilinszky described his film sketch Requiem in 1961. To remain simple and authentic: this aspiration also characterized him in his poetic ‘roles’. Janos Pilinszky was interested in film as a mode of self-expression as well as an experimental art close to the language of poetry, and not only on a theoretical level: he wrote filmscripts, sensitive movie reviews and he himself stood in front of the camera a few times. In the motion pictures made between 1969 and 1980, we can see him in fiction and documentaries, in reportage, in the opening of an exhibition as a performance artist, or in home movies in a family circle, but almost always ina poetic role, as he performs his poems or in the context of poetry. Outstanding among all of these is Gyula Maar’s masterpiece, his friendly conversation, a “lyrical portrait” dedicated to the poet (1978). “An alarming memory is the recollection of a film strip. It’s a one-sidedly sharp — and perhaps just a distorting mirror with precision” — he wrote in a critique. Yet this “distorting mirror” still shows a poet moving with spontaneous directness and simplicity in front of the camera; his fragile shape, his gestures and facial expressions, his voice, and suggestive performance still captivate the viewer today. + 236 +
