In: Ignácz Ádám (dir.) Műfajok, stílusok, szubkultúrák. Tanulmányok a magyar populáris zenéről, Rózsavölgyi és Társa, Budapest, pp. 75-93, 2015. , 2015
Th e paper examines the reactions of the most
infl uential private theatre of Budapest (Vígszínhá... more Th e paper examines the reactions of the most infl uential private theatre of Budapest (Vígszínház) to the challenges of the Great Depression. It aims to reveal how the intense international artistic and business relations – transfer of plays, business and performance practices – helped the only foreign (American) owned theatre of the Hungarian capital to maintain its continuous activity, its high quality repertoire and its permanent acting company. It happened in a period when the majority of other private theatres in Budapest and abroad collapsed under pressures from the consequences of the stock-market crash. Based on the concept of the dynamics of theatrical commodifi cation (Christopher B. Balme) the paper presents the mechanisms of the export, import activity. Th e source is the correspondence of Vígszínház with the foreign publishers (Verlag Max Pfeff er, S. Fischer Verlag, Georg Marton Verlag, etc.), with theatre agencies and impresarios (Robert Blum, J. Borkon, Dr. Adalbert Patek, Norbert Salter, Paul Winkler, Oskar Forray, Dr. Artur Hohenberg). Th e paper aims also to highlight the close personal relations of the management of Vígszínház to infl uential personalities of the Hollywood and the German fi lm industry. Based on the archival material held in the Th eatre History collection in the National Széchényi Library of Budapest the paper presents the ambiguous position of an East- Central-European theatre closely related to the centers of the cosmopolitan show business.
In: Ignácz Ádám (dir.) Műfajok, stílusok, szubkultúrák. Tanulmányok a magyar populáris zenéről, Rózsavölgyi és Társa, Budapest, pp. 75-93, 2015. , 2015
Th e paper examines the reactions of the most
infl uential private theatre of Budapest (Vígszínhá... more Th e paper examines the reactions of the most infl uential private theatre of Budapest (Vígszínház) to the challenges of the Great Depression. It aims to reveal how the intense international artistic and business relations – transfer of plays, business and performance practices – helped the only foreign (American) owned theatre of the Hungarian capital to maintain its continuous activity, its high quality repertoire and its permanent acting company. It happened in a period when the majority of other private theatres in Budapest and abroad collapsed under pressures from the consequences of the stock-market crash. Based on the concept of the dynamics of theatrical commodifi cation (Christopher B. Balme) the paper presents the mechanisms of the export, import activity. Th e source is the correspondence of Vígszínház with the foreign publishers (Verlag Max Pfeff er, S. Fischer Verlag, Georg Marton Verlag, etc.), with theatre agencies and impresarios (Robert Blum, J. Borkon, Dr. Adalbert Patek, Norbert Salter, Paul Winkler, Oskar Forray, Dr. Artur Hohenberg). Th e paper aims also to highlight the close personal relations of the management of Vígszínház to infl uential personalities of the Hollywood and the German fi lm industry. Based on the archival material held in the Th eatre History collection in the National Széchényi Library of Budapest the paper presents the ambiguous position of an East- Central-European theatre closely related to the centers of the cosmopolitan show business.
A szokások és a test az európai etnológia perspektívájában MTA Politikai Tudományok Intézete Etno... more A szokások és a test az európai etnológia perspektívájában MTA Politikai Tudományok Intézete Etnoregionális Kutatóközpont Budapest, 1997
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Papers by Gyöngyi Heltai
infl uential private theatre of Budapest (Vígszínház)
to the challenges of the Great Depression. It
aims to reveal how the intense international artistic
and business relations – transfer of plays, business
and performance practices – helped the only foreign
(American) owned theatre of the Hungarian capital to maintain its continuous activity, its high
quality repertoire and its permanent acting company.
It happened in a period when the majority
of other private theatres in Budapest and abroad
collapsed under pressures from the consequences of
the stock-market crash.
Based on the concept of the dynamics of theatrical
commodifi cation (Christopher B. Balme)
the paper presents the mechanisms of the export,
import activity. Th e source is the correspondence of
Vígszínház with the foreign publishers (Verlag Max
Pfeff er, S. Fischer Verlag, Georg Marton Verlag,
etc.), with theatre agencies and impresarios (Robert
Blum, J. Borkon, Dr. Adalbert Patek, Norbert
Salter, Paul Winkler, Oskar Forray, Dr. Artur Hohenberg).
Th e paper aims also to highlight the close
personal relations of the management of Vígszínház
to infl uential personalities of the Hollywood and
the German fi lm industry. Based on the archival
material held in the Th eatre History collection in
the National Széchényi Library of Budapest the
paper presents the ambiguous position of an East-
Central-European theatre closely related to the centers
of the cosmopolitan show business.
infl uential private theatre of Budapest (Vígszínház)
to the challenges of the Great Depression. It
aims to reveal how the intense international artistic
and business relations – transfer of plays, business
and performance practices – helped the only foreign
(American) owned theatre of the Hungarian capital to maintain its continuous activity, its high
quality repertoire and its permanent acting company.
It happened in a period when the majority
of other private theatres in Budapest and abroad
collapsed under pressures from the consequences of
the stock-market crash.
Based on the concept of the dynamics of theatrical
commodifi cation (Christopher B. Balme)
the paper presents the mechanisms of the export,
import activity. Th e source is the correspondence of
Vígszínház with the foreign publishers (Verlag Max
Pfeff er, S. Fischer Verlag, Georg Marton Verlag,
etc.), with theatre agencies and impresarios (Robert
Blum, J. Borkon, Dr. Adalbert Patek, Norbert
Salter, Paul Winkler, Oskar Forray, Dr. Artur Hohenberg).
Th e paper aims also to highlight the close
personal relations of the management of Vígszínház
to infl uential personalities of the Hollywood and
the German fi lm industry. Based on the archival
material held in the Th eatre History collection in
the National Széchényi Library of Budapest the
paper presents the ambiguous position of an East-
Central-European theatre closely related to the centers
of the cosmopolitan show business.