After the seventh installment of this series, I kept thinking that it would be worthwhile to learn how the 1949 nationalization of theatres was presented in the Pécs press up to the opening of the season at the Pécs National Theatre—and even beyond—using the Arcanum Digital Science Library as a source. In this article, I document theatre-related pieces published in the late October 1949 issues of Dunántúli Napló (1948–1990). This is how the present study came into being.
By Dr. Dezső Vargha, retired chief archivist
Let us begin with an article entitled “Exchange of Letters Between the Belvárosi Theatre and the Pécs National Theatre,” published in the October 27 issue of the newspaper of the Baranya County Organization of the Hungarian Working People’s Party (MDP). The article sheds light on an interesting connection with the capital city right from the outset.
“The Belvárosi Theatre of Budapest sent the following letter to the Pécs National Theatre, which was performing in Kaposvár until the end of the week (sic!):
To the Management of the Pécs National Theatre, Kaposvár.
The Belvárosi Theatre warmly greets the Pécs National Theatre and at the same time offers every possible form of assistance. Sets, plays, and even existing cast assignments from productions already performed are always at the disposal of the Pécs National Theatre. We shall be pleased if we can help in your fine and important work.
Furthermore, should you require an actor who is not currently appearing in our productions, we will gladly make him or her available if this can strengthen the Pécs National Theatre in fulfilling its duties.
Wishing you success and fruitful work, with comradely greetings,
Simon Zsuzsa
Company Director
Management of the Belvárosi Theatre”
Zsuzsa Simon (Source: Facebook)
The Pécs National Theatre replied as follows:
To the Management of the Belvárosi Theatre, Budapest.
The Pécs National Theatre gratefully acknowledges the generous offer of assistance made by the Belvárosi Theatre and trusts that this comradely gesture will contribute to the successful fulfillment of its highly important and responsible mission in the provinces.
As a result, there is every reason to hope that the audience of the Pécs National Theatre may one day welcome some of the finest artists of Budapest’s Belvárosi Theatre—Elma Bulla, Mária Sulyok, János Görbe, and László Földényi (!)—should they become available.
Naturally, the “Soviet Theatre Model” discussed in the previous installment also made its presence felt here. From the October 28 issue, I would like to document the article entitled “Eleven Artists of Moscow’s Maly Theatre Receive the Order of Lenin.”
“According to a Moscow report by TASS (for younger readers: the notorious central news agency of the Soviet Union), the Supreme Soviet of the USSR and of the Russian Soviet Federative Socialist Republic, on the occasion of the 125th anniversary of Moscow’s Academic Maly Theatre (sic!), awarded several of the theatre’s artists the titles of People’s Artist of the Soviet Union, People’s Artist of the Russian Republic, and other distinctions. In addition, 133 employees of the Maly Theatre received decorations, while eleven were awarded the Order of Lenin.
Moscow society is solemnly celebrating the 125th anniversary of the Maly Theatre. The jubilee theatre has received numerous congratulatory telegrams from writers, artists, and cultural organizations throughout the People’s Democracies. The entire Soviet state is commemorating the anniversary as one of the outstanding festive occasions of Soviet art.
In a leading editorial, Pravda (for younger readers: the notorious central newspaper of the Communist Party of the Soviet Union) also addresses the jubilee. It points out that the Maly Theatre is the pride and glory of Russian culture. From its foundation, its work has been based on artistic truth and, through its close association with the Russian revolutionary liberation movement, it became a powerful forge of the leading Russian realist tradition. It evolved into the central school of that artistic movement.”
The so-called Order of Lenin (Source: Wikipedia)
“They created a form of stage realism of the highest artistic quality, which secured for Russian theatre a leading position in the progressive dramatic arts of the world. By implementing the principles of socialist realism in its productions, the theatre portrays the new man of our age and the heroes of our own day in their struggle against backwardness and the remnants of capitalism.
In recognition of these achievements, it was granted the status of an Academic Theatre. Its realist traditions continue to exert a profound influence on the finest theatres of the Soviet state.”
While the article on Soviet theatre occupied the second page of the newspaper, the local piece entitled “The National Theatre’s Programme for the New Season Has Been Completed” appeared on page six of the October 28 issue.
“The Pécs National Theatre has finalized its programme for the current season. According to the plan, the first production will be Zsigmond Móricz’s play Úri muri (The Merry Gentry), followed by A. Raskin and M. Slobodsky’s musical comedy Film Star. This will be followed by Lope de Vega’s verse comedy The Dog in the Manger.
The company had already staged all three works during the previous season in Kaposvár, where each enjoyed well-deserved success with audiences.
In early December, the theatre will present Merry Dream, a fairy-tale play by Sergei Mikhalkov, the distinguished Soviet writer for young people. The production has been translated and will be directed by József Szendrő. On December 10, Hungarian Radio will broadcast the performance as a Pécs premiere.
The Pécs National Theatre has decided that this fairy-tale play, which, despite its fantastical nature, never departs from reality, will be performed alternately for adult audiences, Pioneer youth groups, and children.”
József Szendrő press photograph (Source: Galéria Savaria)
Around the middle of December, the theatre planned to stage Shakespeare’s Othello in a new Hungarian translation by Dezső Mészöly, which had already been performed at Budapest’s National Theatre.
The theatre also planned a special Soviet programme in celebration of Comrade Stalin’s birthday.
Around Christmas, a revised version of János Vitéz (John the Valiant) was scheduled to premiere. The text had been adapted by Ferenc Karinthy, while the music was reworked by Jenő Kenessey. The production would also introduce János Borvető, the theatre’s new opera singer, who had previously enjoyed considerable success in performances of The Captain Bought on Credit at the Magyar Theatre.
“We look forward with interest and confidence to the Pécs National Theatre’s high-quality programme for the season.”
Still remaining in the final days of October, we arrive at October 29, 1949, when the season of great significance in the history of the theatre finally began. The local party newspaper welcomed the occasion under the headline “Ceremonial Opening of the Theatre Tonight.”
“Tonight at 7:30 p.m., the State Theatre of Pécs will open its doors. On behalf of the Hungarian Working People’s Party, Comrade Lívia Deák, secretary of the Party’s Pécs Committee, will inaugurate the festive opening performance.
The evening’s presentation will be Zsigmond Móricz’s play Úri muri (The Merry Gentry).
The theatre administration has arranged the productions included in the season programme in such a way that subscribers may attend each performance on their designated subscription dates.
On Saturday at 7:30 p.m., the Endre Ady Subscription Series will be valid. On Sunday afternoon there will be no subscription performance, while on Sunday evening at 7:30 p.m. the company will perform for holders of the János Arany Subscription Series.”
Ferenc Bessenyei with Klári Tolnay at the radio in 1960 (Source: Fortepan)
“Again, a day later, on October 30, the paper wrote about the start of the season under a similar headline. The title was then ‘Ceremonial Opening at the Theatre.’ ‘The nationalized theatre of the city of Pécs opened its doors on Saturday to the working people of the city. The company’s first performance was welcomed by a full house, packed with workers. Before the performance of the play ‘Úri muri’, the theatre director, József Szendrő, explained the significance of the new theatre, the theatre of the workers.
— I trust — he said — that the transformation will bear abundant fruit. The actor enjoys broad support, so there is an opportunity to deliver quality to the audience, and to achieve our goal, the realization of realist art. At the end of his speech, he thanked the leader of the Hungarian people, the wise director of our Party, the rebuilder of Hungarian life, for having created the nationalized theatres. (Enthusiastic applause: Long live Rákosi!)
After this, Ferenc Bessenyei, a member of the company, recited Petőfi’s poem ‘The Poets of the 19th Century’, and after the Internationale, the performance began, which our paper will report on in Tuesday’s (November 1) issue.”
I now quote the theatre programme starting on October 30 following the season opening on Saturday:
Saturday 7:30 p.m.: URI-MURI (Madách subscription).”
Sunday 3:30 p.m.: URI-MURI (no subscription).
Sunday 7:30 p.m.: URI-MURI (Arany János subscription).
Monday 7:30 p.m.: URI-MURI (Csokonai subscription).
Tuesday: No performance.
Wednesday 7:30 p.m.: URI-MURI (Jókai subscription).
Thursday 7:30 p.m.: URI-MURI (József Attila subscription).
Friday 7:30 p.m.: URI-MURI (Katona József subscription).
Saturday 7:30 p.m.: URI-MURI (Madách subscription).”
