Operett-diplomácia (A Csárdáskirálynő a Szovjetunióban 1955–1956 fordulóján)
Operetta diplomacy. The Princess Csárdás in Moscow and Leningrad (1955–1956)

Summary/Abstract: This essay discusses the adaptability of a boulevard theatre genre in the cultural context of totalitarian communism. The Hungarian operetta tradition was a popular branch of mass culture, part of the international show business. When Hungary became a part of the Soviet Empire, the intrusion of the Socialist Realist Aesthetics into the music theatre practice resulted in an „invented tradition” (Hobsbawm), in intercultural performances containing a mixture of entertainment (acting style, stars) and political propaganda (libretto). The professionalism of the pre-war stars made the „socialist operetta” a relatively successful schematic theatre genre. The article focuses on the „socialist version” of The Princess Csárdás. The adaptation of the former show biz product with its politicized libretto excelled even in the field of interstate cultural relations, in Moscow and Leningrad (1955–1956). Based on confidential reports of the Hungarian diplomacy I outline the intended political goals and the actual gains of this tour as well as its great significance in the history of the Soviet-Hungarian cultural relations.

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