Test of courage


We talk about so much about this: line fires, Imre Nagy, 2006 instead of ’56, but there is little talk about the revolutionary role of many of our favorites. Those who could still see them on stage heard the whisper of Iván Darvas, who had been imprisoned, László Mensáros, who had been parked as an assistant, or Gyula Bodrogi, who had been “exiled” to the Attila József Theater, even before the change of regime. On the other hand, the generations that hear about history classes and school commemorations from October 23 have mostly only been seen in movies are hardly attached to them, even because of the impersonality of the obligatory festivities. The documentary Beyond the Stage – Theater and 1956 can change that. These artists have already talked about ’56 in various interviews, but in a film they have not yet told about their personal experiences Gyula Bodrogi, Endre Harkányi, Attila Lőte, Liza Szatmári and Géza Tordy actors, writer Gábor Görgey, photographer Éva Keleti, director Péter Léner and the story of her mother, the actress legend Ági Mészáros, actress Ági Voith. Even less could be known about the executed martyr of the Kisfaludy Theater in Győr, Gábor Földes, whose widow recalled those few exceptional days and the terrible year and a half that followed. Their stories are supplemented by the memories of Ferenc Bessenyei, Iván Darvas, László Mensáros, Attila Nagy, Gellért Raksányi and Imre Sinkovits in the interpretation of Zsolt Trill and are connected by theater historian Tamás Gajdó. Who, among other things, highlights the interdependence of power and theater. “I’ll tell you honestly that I didn’t even know why we were protesting,” says Gyula Bodrogi, who was later a member of the Theater Revolutionary Committee with a smile. “We were proud that this great story is connected to us, young people,” says Péter Léner. “It was all weird, I was the beneficiary of that system. I was a child of war, I was a child of the Holocaust, I had a constant fear, anxiety, I did not like, I was afraid, ”mentions Endre Harkányi, who still took part in the protests. “Because those who are forced to lie to the truth in an unhappy age have no stops,” quotes Ferenc Bessenyei, who, according to Éva Keleti, could never be an actor like before. “Yes, you have to stay home now. To stay alive, if necessary at the cost of partial honor, ”quotes the conversation between Zsolt Trill, Imre Sinkovits and Gyula Illyés. The cluttered sentences seem to respond to each other beyond the Stage, which testifies to a great sense of dramaturgy. The musical choice, however, is unimaginative: it is as if the sound of black and white keys is a mandatory element of films documented with black-and-white images. Although the creators did not use the stereotype of the obligatory Egmont overture, the accompanying music forces the viewer to the senses – counterproductively. On the other hand, it is simply beautiful, as Gábor Görgey speaks of human dignity: about the prison because he was ashamed of it. And the most important thing appears in the words of Eva Keleti: “We really only talked about 56 in its political aspect, not so much in human tragedies and now we don’t even talk about it”, “We should also deal with the soul that the actor puts on stage”. This is a documentary by Szilvia Mohácsi and Gyula Balogh, our magazine’s chief colleague. Because the historical moments of a country are enchanted by the still young speakers in their eyes. Among them is the widow of Gábor Földes, who only guesses the story of a woman who survives with her head raised. Triggering empathy from the viewer, who suddenly finds himself wondering if he would have had the courage to participate or be left out, to tell the truth or to remain silent, to remember, or to forget. Info: Beyond the Stage – Theater and 1956 director: Szilvia Mohácsi editor: Gyula Balogh October 25, 26 M5 You can watch the Media Click indefinitely (Culture)

Source: Népszava by nepszava.hu.

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