Abstract
In the 1981/82 season, three Hungarian theatres independently presented one of the greatest Broadway hits of the era, Chicago, and this coincidence highlighted the possible directions of Hungarian musical theatre practice that pointed beyond operettas. Both audiences and official cultural policy were fascinated by the Kaposvár ensemble and the director Ascher, and this situation was made even more visible by the premier of a popular product of the American entertainment industry. This paper reconstructs that this ‘fundamentally biological genre’ can be enjoyable and effective without descending into kitsch, and it can even possess an edge of social critique – in fact this is where its true power lies.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
