![]() ![]() Two such companies are Napsugár Bábegyüttes (Sunshine Puppet Company), one of the oldest puppet companies in the country, founded in 1949, and Astra Bábegyüttes (Astra Puppet Company) founded in 1953. Until the end of the 1940s, there were more than 1,000 amateur groups performing in nurseries, schools, factories, and in different workplaces and organizations. The Nationalization of PuppetryĪfter World War II, the Communist regime proposed the organization of amateur puppetry ensembles as one of the “weapons against imperialism”. The most noted of these was Toldi, a puppet version of a classical poem written by János Arany in 1847. The first permanent professional puppet theatre in Hungary was the Nemzeti Bábszínjáték (National Puppet Theatre) founded by István Árpád Rév (Budapest, 1898-1977), who created ten new shows for adults and six for children at this theatre between 19. ![]() The Remsey family set up a puppet theatre at Gödöllő which was active between 19. Tóth (Rimaszombat, 1904 – Zalaegerszeg, 1980) created a series of glove puppets for the Boy Scout movement. In Hungary, Béla Büky (Juta, 1899 – Budapest, 1983) performed special shadow plays based on well-known Hungarian folk ballads. In 1925, Blattner established a puppet theatre in Paris called Arc-en-Ciel. Another notable artist who experimented with puppetry was Géza Blattner (Debrecen, 1893-1967), who adapted fairground tales for puppetry. An example of these plays is A fekete korsó (The Black Jug) by Béla Balázs. Over the subsequent four years, they performed short plays using glove and shadow puppets written by distinguished contemporary poets. ![]() In 1910, Loránd Orbók (Pozsony, 1884 – Barcelona, Spain, 1924) and his friends made the first attempt to use puppets as a means of higher artistic expression in Hungary. The tradition of the Kemény family was kept alive by Henrik Kemény Junior (1925-2011): a highly dynamic style of performance using the glove puppet called Vitéz László (Lazlo the Brave). Both families performed regularly until the nationalization of theatres took place in 1949. Both theatres are located on the eastern side of the Danube. The former built a permanent puppet theatre in the Budapest City Park the latter built another in the Népliget (People’s Park). There were, however, two German dynasties which made their home in Hungary and learnt the language: the Hincz family and the Korngut-Kemény family (see Vitéz László). Alongside these touring artists the Hungarian actor István Balogh (1790-1873) developed an interest in puppetry and left librettos (more in the nature of outlines) of his puppet plays to posterity: some children’s tales, a romantic story about a highwayman, among others. ![]() Tschugmall (1785-1845) from Tyrol, had great success with his mechanical puppets in 1839. Kobler and Franz Stöger gave performances in Pest during the first decades of the 19th century. The puppet theatre housed in the castle of the Princes of Eszterházy became an important puppetry centre where, from 1773, many productions could be seen, often with music by Joseph Haydn (see Eszterháza Palace Marionette Theatre). The 18th and 19th Centuriesįrom around the middle of the 18th century foreign puppeteers performed in the town fairs of Hungary: the German Franz Passer with his marionettes a little later another German, Franz Joseph Diwald, who performed until 1790 and the well-known Albert Bienfait, the Pulcinella player. There was also a kind of planchette ( jigging puppet) performance that could be seen in the villages, manipulated by young peasants or strolling gypsies. At the end of each performance, Kis Miklós (Little Nicholas) would make the rounds of the audience to collect alms which he put into his moneybag. Later figures included the “ Titiri” shepherds and the Chimney Sweep. At this time an early form of Hungarian puppetry also took shape, seen, for example, in the busó – triple masks and puppets – or the “dancing puppets” of the Christmas Crib (see Nativity Scenes), with traditional figures like Herod and the Devil, the Bellringer, a “Jutka-Marinka” puppet, and the Little Red Hero. The roots of indigenous performing arts in Hungary date back to the 11th century with dramatic folk traditions as well as the well-known semi-liturgical dramas. For four decades in the 20th century, Hungary was a member of the Eastern Bloc (1947-1989). Hungary’s golden age was the 15th century, after which it was partially occupied by the Ottomans (1541-1699), later coming under Habsburg rule, and then forming a significant part of the Austro-Hungarian Empire (1867-1918). Located in Central Europe, modern Hungary (Hungarian: Magyarország) had its foundation in the late 9th century after centuries of habitation by a succession of many peoples, including Celts, Romans, Huns, Slavs and Avars. ![]()
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