A Brief Overview of Hungarian Theatre History
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Hungarian theatre history has a rich past, reflecting the changes, struggles, and cultural aspirations of Hungarian society over the centuries. The first Hungarian-language theatrical performances appeared in the 17th century, but the true foundations of Hungarian theatre were laid in the 18th century.
The Early Steps: From Religious Plays to Secular Dramas
The early roots of Hungarian theatre can be traced back to medieval religious plays. These plays dealt with biblical stories or the lives of saints and primarily served the educational and missionary purposes of the church. In the 16th century, Latin-language dramas spread in Protestant schools under the influence of the Reformation. These works already explored secular themes and contributed to the development of Hungarian-language theatre.
The 18th Century: The Birth of the National Theatre
The 18th century marked a turning point in Hungarian theatre history. In 1736, András Bródy founded the Miskolc University Theatre, the first permanent Hungarian-language theatre. Although it was short-lived, it played a significant role in establishing the traditions of Hungarian-language theatre.
The real breakthrough of Hungarian theatre is associated with the name of László Kelemen. In 1792, he founded the Hungarian Playhouse in Pest, which is considered the predecessor of the National Theatre. Kelemen’s goal was to create a permanent theatre that would address the Hungarian audience in Hungarian at a high level. The repertoire of the theatre included works by both Hungarian and foreign authors.
In 1837, the Pesti Magyar Színház (Pest Hungarian Theatre) opened its doors, which is known today as the Magyar Nemzeti Színház (Hungarian National Theatre). This theatre became the stronghold of Hungarian theatre and has played a defining role in Hungarian cultural life to this day.
The 19th Century: The Age of Romanticism and the Search for National Identity
The 19th century was the age of Hungarian Romanticism, which had a strong influence on theatre art as well.
The writers of the period, such as Károly Kisfaludy and Mihály Vörösmarty, wrote historical dramas that served to strengthen national identity. These plays inspired Hungarians fighting for national independence by evoking the glorious past and presenting the stories of heroes.
In the second half of the 19th century, Hungarian theatre opened up to Western trends. Dramas by Ibsen, Shakespeare, and Molière also appeared on the stage of the theatres, and realist and naturalist trends also gained ground.
The 20th Century: Challenges and Renewal
The 20th century was a period of challenges and renewal in Hungarian theatre history. The two world wars and the communist dictatorship imposed political restrictions on artistic freedom, but Hungarian theatre artists adapted to the situation with resilience.
The First Half of the 20th Century:
At the turn of the century, Hungarian theatre opened up to Western trends. In addition to dramas by Ibsen, Shakespeare, and Molière, realist and naturalist trends also gained ground.
Between the two world wars, Hungarian theatre experienced its golden age. Outstanding actors and directors, such as Mari Jászai, Árpád Ódry, and Sándor Hevesi, contributed to the rise of Hungarian theatre.
The Second Half of the 20th Century:
With the easing of the rigors of the Kádár era, restrictions in theatre art also eased.
New theatrical trends, such as experimental theatre and happening, emerged.
The Present:
Currently, there is a strong government intention to present the central narrative in cultural institutions, including theatres.
The state-supported theatres are prioritized, and the levels of cultural governance are centralized. This jeopardizes the equal opportunities of experimental and independent theatres, and personal talents may be pushed into the background.
There is no correlation between the amount of support and the number of visitors in some state-supported institutions. The application process for theatre directors cannot be considered entirely open either.
Currently, attending certain theatres and watching certain plays can be considered a political statement, which phenomenon disrupts the realization of diverse theatre art.