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Kolibri Gyermek- és Ifjúsági Színház

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(zobrazit)1912 | opening

historie

The theatre building was built in 1912, designed by Marcell Komor (1868-1944) and Mr. Dezső Jakab (1864) in Art Nouveau style; which is still used today as a theatre in Jókai Street 10., in the 6th district. The hall on the ground floor was built for the purposes of the Edison Cinema.
The influence of Ödön Lechner can be felt on the architecture of Komor and Jakab. Marcell Komor was also a literary figure next to his engineering work. His architectural articles were published in the Journal of Entrepreneurs, which was edited by him for 20 years.
The design of the auditorium and stage is axial, linearly confronted form. The auditorium is rectangular; 25 rows of chairs can be fit in. The auditorium is surrounded by balconies on the second floor.

 

The art nouveau building at 10 Jókai tér was designed by Marcell Komor (b. Pest, 7 November 1868 – d. Sopronkeresztúr, 29 November 1944) and Dezső Jakab (b. Rév, 4 November 1864 – d. Budapest, 5 August 1932) and built as an apartment building in 1912. The Edison film theatre functioned on the ground floor, as from 1926 did the UHU music-hall (of stormy past) and, for a short time, the Pelikán music-hall and the Régi Apolló (the venue of the Apolló Cabaret). On 16 September 1927 the Komédia opened, under the direction of Sándor Rott, and from 1928 to 1944 functioned as the Komédia Orféum. From 1928 Kálmán Somogyi took it over, as did József Perényi from 1938 and László Misoga from 1940. The chief directors were Jenő Virágh, followed by Emil Tábori and Jenő Herczeg. Variety programmes were staged (with chansons and music-hall songs) in which the most outstanding artists in the genre appeared, including Kamill Feleki, Alfonzó, Rodolfó, Vilma Megyaszay, Tibor Mészöly, Gyula Kővári and József Sziklay, and the set designers Eric Vogel, István Básthy and Endre Ütő. The last performance was in April 1944. Vilma Megyaszay obtained permission to open the theatre in 1945, and it was named Megyaszay Stage, later Megyaszay Theatre and Modern Stage. Its first performance was of Jacques Deval's comedy The French Maid on 19 April 1945. From 1946 the practical direction was in the hands of Kálmán Somogyi, who put on artists of note in his entertaining, light programmes. After Megyaszay's licence expired Zoltán Greguss was appointed director. He opened his theatre in 1948 under the name of Modern Theatre with Ferenc Molnár's The Devil.
From 1954 it opened as the Vidám Stage Chamber Theatre. Its programmes featured clowns and musical comedies, and the cabaret programmes were sidelined.

In October 1970, the whole building was rebuilt and became the home of the State Puppet Theatre. The interior and exterior plans were based on the work of János Schmidt, chief engineer of Budapest Council Technical Office. The interior architect was Antal Mayer. The wall-covering of the auditorium is vertical boards, with modern space design. The dimensions of the puppet stage are: width of proscenium arch 6.4m, height of proscenium arch 4.2m; depth of proscenium arch 1.7m. Width of stage 8.5m, height 4.8m, depth 6.3m. The height of the playing folding screen is 1.7m. The sound- and lighting-bridge above the auditorium is 9m wide and 2m deep.
From 1970 the State Puppet Theatre, directed by Dezső Szilágyi, played in the building. From 1976 to 1992 it functioned as the chamber theatre of the State Puppet Theatre. Its programmes included fairy-tale plays, adaptations for puppets and modern puppetry one-act plays.
The Kolibri Children's and Youth Theatre began its work as an alternative puppet theatre in Jókai tér in 1992. Even from the outset the director János Novák did not rely on puppets alone. It is a children's theatre in which children of all ages can find performances appropriate to their ages and interests. Artistic programmes have even been devised for the benefit of children below the age of three. The Kolibri Theatre at 10 Jókai tér (seating capacity 240), the Fészek at 74 Andrássy út and the Pince at 77 Andrássy út (seating capacity 70–80) await their audiences. 

 

 

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