In search of the 'real Shakespeare' : Sándor Hevesi's Taming of the Shrew in 1923, Budapest

Název: In search of the 'real Shakespeare' : Sándor Hevesi's Taming of the Shrew in 1923, Budapest
Zdrojový dokument: Theatralia. 2023, roč. 26, č. 1, s. 55-81
Rozsah
55-81
  • ISSN
    1803-845X (print)
    2336-4548 (online)
Type: Článek
Jazyk
 

Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.

Abstrakt(y)
This study introduces Sándor Hevesi (1873–1939), a Hungarian translator, theatre critic, Shakespeare scholar and opera and theatre director, who played a crucial role in the Budapest theatre scene in the 1920s. His work has received less attention than it deserves, and particularly the so-called Shakespearecycles, i.e., Hevesi's serialised Shakespeare productions, are still neglected. The cycles/series were performed between 1922 and 1933, while Hevesi was artistic and managing director of the National Theatre. These productions resuscitated the then fading Hungarian Shakespeare cult and profoundly changed the Hungarian reception and performance of Shakespeare. Hevesi's intention was to present both authentic and popular Shakespeare productions, therefore, he sought the key to 'the real Shakespeare'. The present study intends to explore what Hevesi (could have) meant by this expression, and particularly focuses on an unknown manuscript, Hevesi's own, handwritten director's copy of the Taming of the Shrew (1923). Through the case study of his staging of the Shrew, the paper reveals Hevesi's particular methods of close reading, translation, and stage direction. It concludes that Hevesi's concept of the 'real Shakespeare' was in fact a complex, experimental journey, transcending the boundaries of stage direction, dramaturgy, and scenography of the day.
Reference
[1] ALEXANDER, Bernát. 1910. Shakespeare Viharja az Urániában [Shakespeare's Tempest at Urania]. Vasárnapi Újság 57 (23. 4. 1910): 17: 360–361.

[2] ALEXANDER, Bernát. 1911. A Shakespeare-cziklus [The Shakespeare-Cycle]. Vasárnapi Újság 58 (1911): 21: 418.

[3] BALASSA, József. 1926. Tizenhárom Shakespeare-darab [Thirteen Plays by Shakespeare]. Shakespeare-ciklus 1926. Programme flyer, free special issue of Magyar Színpad (1926): 15–22.

[4] BÁLINT, Lajos. 1923. Shakespeare díszletei [Shakespeare's Sets]. Színházi Élet 42 (1923): 22–23.

[5] BÁLINT, Lajos. 1964. Művészbejáró [Stage Door]. Budapest: Szépirodalmi, 1964.

[6] BÁRDOS, Artur. 1914. Színpad és képzőművészet [Stage and Decorative Arts]. Magyar Iparművészet XVII (1914): 17–20.

[7] BOOTH, Michael R. 1981. Victorian Spectacular Theatre 1850–1910. London: Routledge, 1981. F.J. 1923. A színház munkája [The Work of the Theatre]. Magyar Színpad 26 (30. 11. 1923): 335: 1.

[8] GAJDÓ, Tamás. 2018. Elfogult emlékek a 125 éve született Bajor Giziről [Biased Memories of Gizi Bajor Born 125 Years Ago] [online]. Színház.org (19. 5. 2018). [accessed on 9.10.2023]. Available online at https://szinhaz.org/multidezo/2018/05/19/bajor-gizirol-gajdo-tamas-irasa/.

[9] GAJDÓ, Tamás. 2014. A Nemzetin / a nemzeten innen és túl… Hevesi Sándor és Bajor Gizi [Within the Nation/the National and Beyond… Sándor Hevesi and Gizi Bajor] [online]. Theatron 13 (2014): 3: 13–17. [accessed on 10.11.2022]. Available online at https://theatron.hu/wp-content/uploads/2020/12/4.GajdoTamas2014.3.pdf.

[10] GIMESI, Dóra, Viktória JELI and William SHAKESPEARE. 2021. Makrancos Kata – Rómeó és Júlia. Regényes Shakespeare [The Taming of the Shrew – Romeo and Juliet. Novelised Shakespeare]. Budapest: Pozsonyi Pagony, 2021.

[11] GLICK, Claris. 1964. William Poel: His Theories and Influence. Shakespeare Quarterly 15 (1964): 1: 15–25.

[12] HEVESI, Sándor. 1896. Dráma és színpad [Drama and Stage]. Budapest: Singer & Wolfner, 1896.

[13] HEVESI, Sándor (as Alexander Hevesi). 1908a. Realism and the Actor. An International Symposium [online]. The Mask 1 (1908): 5: 97–98. Blue Mountain Project. Historic Avant-Garde Periodical for Digital Research. Princeton University. [accessed on 15.7.2022]. Available online at https://bluemountain.princeton.edu/bluemtn/cgi-bin/bluemtn?a=d&d=bmtnaau190807-01.2.5&e=-------en-20--1--txt-txIN-------.

[14] HEVESI, Sándor (as Alexander Hevesi). 1908b. Shakespeare as Scenographer [online]. The Mask 2 (July 1909): 1–3: 6–8. Blue Mountain Project. Historic Avant-Garde Periodical for Digital Research. Princeton University. [accessed on 9.11.2022]. https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.2.8&e=-------en-20--1--txt-txIN-------.

[15] HEVESI, Sándor. 1909. A velencei kalmár [The Merchant of Venice]. In Az igazi Shakespeare [The Real Shakespeare]. Budapest: Táltos, 1920: 34–51.

[16] HEVESI, Sándor. 1914. A színpadi keret fejlődése [The Development of the Stage Frame]. Magyar Iparművészet XVII (1914): 2–5.

[17] HEVESI, Sándor. 1916. Shakespeare-játék és Shakespeare-fordítás [Acting and Translating Shakespeare]. In Az igazi Shakespeare [The Real Shakespeare]. Budapest: Táltos, 1920: 205–212.

[18] HEVESI, Sándor. 1917. Az igazi Shakespeare [The Real Shakespeare] (1917). In Az igazi Shakespeare [The Real Shakespeare]. Budapest: Táltos, 1920: 5–33.

[19] HEVESI, Sándor. 1923. Makrancos hölgy [The Taming of the Shrew]. Unpublished manuscript. 62.2406. Hungarian Theatre Institute and Museum, Budapest.

[20] HEVESI, Sándor. 1924. Shakespeare és a színpadi rendezés [Shakespeare and Stage Direction]. Színházi Élet (1924): 2: 1–10.

[21] HEVESI, Sándor. 1964. A makrancos Shakespeare [The Taming of Shakespeare] (1930) [online]. In Gábor József (ed.). Amit Shakespeare álmodott [What Shakespeare Dreamt Of]. Budapest: Magvető, 1964: 82–85. [accessed on 15.7.2022]. Available online at http://mek.oszk.hu/07900/07946/07946.htm.

[22] KOVÁCS, Bálint. 2014. Mintha két fejed lenne – A színházi dramaturgok titokzatos világa [As If You Had Two Minds – The Hidden World of Dramaturgs]. [online] Magyar Narancs (21. 3. 2014). [accessed on 15.7.2022]. Available online at https://magyarnarancs.hu/szinhaz2/mintha-ket-fejed-lenne-88850.

[23] LOVACSKA. 1923. [piece of mockery]. Színházi Élet [Theatre Life] (6. 10. 1923): 48.

[24] NÁDASDY, Ádám. 2005. A csökkenő költőiség. Shakespeare műveinek fordításairól [Diminishing Lyricism. On the Translations of Shakespeare's Works] [online]. In Criticai Lapok (Online), 2005/9–10. [accessed on 15.7.2022]. Available online at https://www.criticailapok.hu/23-2005/10225-a%20cs%C3%B6kken%C5%91%20k%C3%B6lt%C5%91is%C3%A9g.

[25] MAGYAR SZÍNPAD. 1923a. A makrancos hölgy reprize. A Shakespeare-ciklus utolsó előadása [Revival of The Taming of the Shrew. The Last Production in the Shakespeare-Cycle]. Magyar Színpad 26 (3. 11. 1923): 308: 1.

[26] MAGYAR SZÍNPAD. 1923b. Shakespeare-ácsorgók [Shakespeare-Queuers]. Magyar Színpad 26 (4. 11. 1923): 309: 2.

[27] PÁLFFY, István. 1978. Shakespeare in Hungary. Shakespeare Quartely 29 (1978): 2: 292–294.

[28] PESTI NAPLÓ. 1923. Ácsorgás a Shakespeare-ciklus jegyeiért [Queuing for the Tickets of the Shakespeare-Cycle]. Pesti Napló (19. 9. 1923): 5.

[29] PIKLI, Natália. 2010. Across Cultures. Shakespeare and the Carnivalesque Shrew. European Journal of English Studies 14: 3: 235–248. DOI: https://doi.org/10.1080/13825577.2010.517294.

[30] REUSS, Gabriella. 2015. The Genesis of Macready's Mythical Lear: The New Tragic Lear, According to his 1834 Promptbook [online]. Shakespeare en devenir 9 (2015). [accessed on 15.7.2022]. Available online at https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=839

[31] REUSS, Gabriella. 2022a. Hevesi, Sándor [online]. In Alexa Alice Joubin (ed.). The Palgrave Encyclopedia of Global Shakespeare. Cham: Palgrave Macmillan, 2022. DOI: https://doi.org/10.1007/978-3-319-99378-2_90-1.

[32] REUSS, Gabriella. 2022b. Hungarian National Theater [online]. In The Palgrave Encyclopedia of Global Shakespeare. Cham: Palgrave Macmillan, 2022. DOI: https://doi.org/10.1007/978-3-319-99378-2_89-1.

[33] SEBESTYÉN, Károly. 1924. A modern magyar Shakespeare színpad [The Modern Hungarian Shakespeare Stage]. Színházi Élet 2 (1924): 22–23.

[34] SHAKESPEARE, William. n.d. The Taming of the Shrew [online]. In Barbara Mowat et al. (eds.). The Folger Shakespeare. Folger Shakespeare Library. [accessed on 15. 7. 2022]. Available online at https://shakespeare.folger.edu/shakespeares-works/the-taming-of-the-shrew/.

[35] SZÉKELY, György (ed.) 1991. Edward Gordon Craig és Hevesi Sándor levelezése. The Correspondence of Edward Gordon Craig and Sándor Hevesi (1908–1933) [online]. Budapest: OSZMI, 1991. [accessed on 15.7.2022]. Available online at http://bpfe.eclap.eu/eclap/axmedis/2/27e/00000-27e8ff1d-d6dd-4d8a-baa6-c34d22d38681/2/~saved-on-db-27e8ff1d-d6dd-4d8a-baa6-c34d22d38681.pdf.

[36] SZÉKELY, György. 1987. Az aranykor és árnyéka. [The Golden Age and Its Shadow] [online]. In Ferenc Kerényi (ed.). A Nemzeti Színház 150 éve [150 Years of the National Theatre]. Budapest: Gondolat, 1987: 57–96.

[37] Theatron 13 (2014): 3. [accessed on 10.2.2023]. Available online at https://theatron.hu/theatron/theatron-13-3-sz-2014/.

[38] ÚJVÁRY, Ignác. 1914. Shakespeare Hamletének díszleteiről [About the Sets of Shakespeare's Hamlet]. Magyar Iparművészet XVII (1914): 37–39.

[39] URÁNIA NEMZETI FILMSZÍNHÁZ. n.d. Az Uránia története [History of Urania] [online]. [accessed on 15.7.2022]. Available online at https://urania-nf.hu/tortenet.

[40] VILÁG. 1923. A makrancos hölgy [Review of The Taming of the Shrew]. Világ 14 (4. 11. 1923): 249.