Endre Nagy
Endre Nagy (born February 5, 1877 as Endre Grósz in Nagyszőllős ( Ugocsa county ), † May 5, 1938 in Budapest ) was a Hungarian newspaper writer , author , master of the stage and cabaret director and is considered a co-founder of the Hungarian cabaret.
Life
Endre Nagy studied law in Oradea , which is now Romania, and graduated with a doctorate, but never even started working in this profession. He also never used the doctorate and always signed as Endre Nagy.
After graduating, Nagy moved in with Endre Ady (one of the most famous authors of the time) and Lajos Biró (also an important prose writer and poet in Hungarian history). Nagy himself concentrated at the time primarily on the writing of novels that were determined by a simple and realistic narrative style and mostly dealt with rural, domestic life. Works from this period are called, for example, Geődhyek , Apostol a Hódságon , A birsai vándorforrás . This was soon followed by the publication of a collection of short stories that were quite important in the new Hungarian literature, such as A misogai földkirály .
In addition to his work as a novelist and short story writer, he worked with his roommates as a newspaper author for the newspaper Szabdság ( Freedom ).
From 1900 to 1910 Endre Nagy lived in Budapest, where he worked as a journalist for the Magyar Szó newspapers and then for Pesti Napló . In 1901 he appeared for the first time on the Budapest Tarka stage with his own text in a cabaret. On March 1, 1907, the “Bonbonniere” opened in Budapest, which still houses a large cinema. Nagy took over the role of emcee from his predecessor, Nádas Sándor, and revived it with a completely new dynamic style. In 1908 he became director of the modern stage Modern Szinpad, which he directed until 1913.
After a year-long stay in Paris, Nagy worked again for the Budapesti Hírlap and Az Est Lapok newspapers in Budapest.
In 1919 the Nagy Endre cabaret stage was opened in the Budapest Winter Garden. In 1921 the cabaret moved to the basement of the historic walls of the Gresham Palace with the name “A Pódium Kabaré”, and in 1922 it went to the Lomb stage on Stefania Street, also in Budapest. From 1923 to 1929 he directed the "Terézkörúti" stage together with Béla Salamon. In the 1930s he again worked for various newspapers and led performance evenings for the Friends of the West until his death.
Act
Endre Nagy is best known for his very unusual presentation style, in which he often gesticulated wildly on stage. He actively challenged his audience and thus created a completely new, dynamic performance style.
Very unusual for a conférencier, Nagy prevailed despite a serious speech defect and was able to inspire people, perhaps precisely because of his uniqueness. Endre Nagy used a very old-fashioned, dissolute Hungarian, which at first seemed very contradictory due to its stuttering.
The real art of Endre Nagy was the small theater in which one could suddenly joke about daily political life. Above all, direct contact with the audience was an integral part of his performances. Endre Nagy faced up-to-date political discussions on the stage almost every day. He always improvised and provided his texts and discussion elements with countless satirical remarks.
Nagy has always been very proud of "his" form of cabaret and has always emphasized that he has never seen a similar example abroad.
Soon this type of cabaret was known and so popular that the most famous Hungarian authors and musicians, such as For example: Ernö Szép, Ady Endre, Kosztolányi and most of the authors of "Nyugat" (the Hungarian newspaper at the time) liked to and often went on stage with Endre Nagy.
The goal was always to make valuable Hungarian poetry popular again.
Together with the musician János Csiky, he has also put together cabaret cycles in which the Hungarian musical treasure should and was made known.
In addition to cabaret, he is also active as an author and has also been successful. He wrote a number of plays for theater in Budapest and sold them successfully. The tragic comedy with the title Zseni ( Genius ) was even awarded the Voinich Prize.
The comedy A Miniszterelnök ( The Prime Minister ) was also a very successful and well-known social satire, which was even made into a film in 1978.
Despite the great commercial success, Endre Nagy remained true to his passion, cabaret. Politicizing with people on stage or in the coffee house, telling anecdotes and political criticism made meaningful entertainment for him. Many authors of the time therefore gathered around Endre Nagy at the coffee house table, as well as numerous well-known personalities of the life at that time who literally stormed Nagy's cabaret to hear his opinion or the interpretation of it.
Nagy was less interested in world politics than in daily Hungarian politics, although he did deal with it from time to time. Nagy spoke French exceptionally well, although he never spoke German, although he grew up in the Austro-Hungarian Empire. Even when he used German names or expressions on stage, he pronounced them incorrectly.
After a trip to Paris, he wrote a travelogue that was particularly popular and prompted Nagy to only write in the documentation and memoir style from now on. The other works are about his memories of his youth in Nagyvárad. Nagy also wrote his work A Kabaré Regény ( The Cabaret Novel ) in this documentary, memoir form.
At the age of about 50, Nagy wanted to create real literature and created his own character: Milos Lukits. Lukits appears as a somewhat depraved, not very intelligent coffee house regular, with whom the author speaks in his work. The title of the work was Hajnali Beszélgetések Lukits Milossal ( Morning Conversations with Milos Lukits ).
Nagy's great passion, however, was cabaret until his death, which is why he spent his retirement years with introductions for his best friends and colleagues.
Extract from his work
Endre Nagy was, so to speak, the inventor and, above all, a revolutionary of the Hungarian cabaret, who - despite his language deficit - spoke to his audience about current events and topics on the stage every day as an emcee .
Here is a small excerpt, one of his introductions with a number that leads to a piece by a well-known Hungarian author:
Transcription of the German recording:
Ladies and gentlemen,
I would like to draw your attention to the fact that all of you at this moment, no one and not a single one, are correctly aware of the situation.
You all now believe that I am standing here in front of you in my original position,
you believe you are sitting downstairs in the auditorium, in a situation opposite to that of the cinema. The poor sit in the front of the auditorium, and the rich sit in the back of the casino and on the gallery in their boxes.
But there is no question of that. There is not even a hint of that.
First of all, where you now believe you are actually sitting, recently an incredibly large film machine - a monster that threatened to swallow me with all its openings - was simply unpleasant to look at.
And from below, a massive spotlight was directed at me - with intense light - I tell you, if the ancient Greeks had had such a spotlight, they could have turned a simple little bookseller into an Apollo that everyone adored.
In the cloakroom, the hairdresser smeared my face with a white sticky mass. When I want to grin, all my wrinkles crack as if I were playing the accordion with a tin can.
That's why I would prefer to speak only with the letter "Ö" as a vowel ...
OT ENDRE Across from
me there is also a large illuminated board that constantly gives me orders: Forward , backward, right, left, louder, quieter!
When it finally starts, I can't think of a word ...
But tell me, am I that little black dot on the sheet in front of you, because no matter how fast I turn around - it turns around too.
I have at least one dimension of width and height - but they have taken the third dimension from me here - I mean, I'm not that flat even during my appearances as an emcee.
Actually this is unnecessary - because the most important thing for success is missing here.
There's no chance that I'll get stuck and fail. A good emcee is not much different from a trapeze artist - the audience only looks at him because the hope is alive that he will fall and break his neck….
Works
- Siralmak Koenyve (1896) - "The Book of Lamentations"
- Tarka krónikák (1903) - "The Chronicles of Tárka"
- Gyönyörű lovagkor (story, 1905) - "The beautiful horse time"
- A Geödhyek (novel, 1905) - "The Geödhyek"
- Apostol a Hódságon (Roman, 1907) - "An Apostle in Hódság"
- Egynapos özvegy (Roman, 1907) - "The One Day Widow"
- A misokai földkirály és egyéb elbeszélések (1908) - "The world ruler for a long time and other stories"
- A zseni (tragic comedy, 1911) - "The Genius"
- A miniszterelnök (comedy, 1912) - "The Prime Minister"
- Tábori levelek (1915) - "Letters from a camp"
- A nagy háború anekdotakincse (1915) - "The anchor note treasure of the great war!"
- Szeplőtlen asszony (novel, 1916) - "The flawless woman"
- Sienai Szent Katalin vőlegénye (story, 1916) - "The bridegroom of St. Catherine of Sinai"
- Oh, az a vén kujon (novel, 1917) - "Oh, that's the wine-soaked"
- Erdély fia (collection of poems, 1917) - "Transylvanian son"
- A Magócsy csirkék története (story, 1918) - "The story of the Magócser chickens"
- Lukits Milos kalandjai (story, 1927) - "The Calendar of Milos Lukits"
- Hajnali beszélgetések Lukits Miklóssal (1928) - "The morning conversations with Miklos Lukits"
- A nyárspolgár (1930) - "The philistine"
- Fatornyos hazám (1932) - "The wooden tower of my homeland"
- Szerelmesek kalauza (1934) - "The love guide"
- A kabaré regénye (1935) - "The novel of cabaret"
- Párizs (1935) - "Paris"
- Egy város regénye (1936) - "The novel of a city"
literature
- Reményi Gyenes István: Ismerjük őket? Zsidó származású nevezetes magyarok arcképcsarnoka. Ex Libris 2000, ISBN 9-638-55303-0 .
- Ki kicsoda a magyar irodalomban? Tárogató Koenyvek. Tárogató 2000, ISBN 963-86071-0-6 .
- Szerkesztő Humor Lexicon: Kaposy Miklós, Tarsoly Kiadó 2001, ISBN 963-86162-3-7 .
- Ágnes Alpár: The past and present of Hungarian cabaret . In: Ernst Günther, Heinz P. Hofmann, Walter Rösler (eds.): Cassette. An almanac for the stage, podium and ring (= cassette ). No. 4 . Henschelverlag Art and Society, Berlin 1980, p. 231-243 .
Web links
Individual evidence
- ↑ Salamon Béla. (No longer available online.) In: Szineszkonyvtar. 2007, archived from the original on February 28, 2009 ; accessed on March 31, 2014 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ A miniszterelnök (1978). In: IMDb. 1987, accessed March 31, 2014 .
- ↑ A miniszterelnök (1978) (teljes film). In: Youtube. January 4, 2013, accessed March 31, 2014 .
- ^ A miniszterelnök (1978). In: IMDb. 1987, accessed March 31, 2014 .
- ↑ A miniszterelnök (1978) (teljes film). In: Youtube. January 4, 2013, accessed March 31, 2014 .
- ↑ Nagy Endre. In: mek.oszk.hu. January 27, 2011, accessed March 31, 2014 .
Remarks
- ↑ Grósz stands for the German word "Groß" and means "Nagy" in Hungarian
| personal data | |
|---|---|
| SURNAME | Nagy, Endre |
| ALTERNATIVE NAMES | Grósz, Endre (maiden name) |
| BRIEF DESCRIPTION | Hungarian cabaret artist |
| DATE OF BIRTH | February 5, 1877 |
| PLACE OF BIRTH | Nagyszőllős ( Ugocsa County ) |
| DATE OF DEATH | May 5, 1938 |
| Place of death | Budapest |