PPKE Repository of Dissertations (Pázmány Péter Catholic Univ.)

Farkas Bianka Vivien

Hungarian

A CFTR kloridcsatorna vizsgálata molekula dinamikai szimulációk segítségével

Yahya Ibrahim

English

Deep Learning Based Methods on 2D Image and 3D Structure Inpainting

Chakravarty Suchana

Dynamical Analysis of Biological Feedback & Feedforward Systems

Sereghy Noémi Xénia

A keleti kánonjog lehetséges alternatívái a latin büntetőjog megújításához

Domján Dániel Ferenc

PÁZMÁNY PÉTER CATHOLIC UNIVERSITY 
FACULTY OF HUMANITIES AND SOCIAL SCIENCES 
DOCTORAL SCHOOL OF HISTORY 
DIRECTOR: DR. SÁNDOR ŐZE, DSC, 
 
 
DÁNIEL FERENC DOMJÁN 
SATELLITES AND COMETS 
THE HISTORY OF THE HUNGARIAN-
YUGOSLAV RELATIONS, PARTICULARLY THE 
INTELLIGENCE AND DIPLOMACY ASPECTS 
1945-1956 
Thesis of Doctoral (PhD) Dissertation 
 
 
 
 
 
CONSULTANTS: 
DR. GERGELY RÓBERT FEJÉRDY, PHD 
DR. JÓZSEF JUHÁSZ, DSC 
 
Budapest, 2022. 
I. The topic of the dissertation and setting of objectives 
 
One of the most interesting parts of the post-war 
Europe’s history – that have a major impact on the socialist 
countries – is the conflict between the Yugoslav and 
Soviet leadership that influenced both the internal and 
foreign affairs of Hungary. 
In June 1948, the conflict between Tito and Stalin 
led to the exclusion of the Yugoslav Communist Party 
from the Cominform. Mátyás Rákosi was one of the first 
communist leaders who attacked the Yugoslav politics and 
during the Conflict he served the Soviet interests. Hungary 
became a “frontline country”, the diplomatic relations 
between Budapest and Beograd reduced to the minimum 
level. In the early 50s, the armed incidents on the border 
happened on a daily basis; furthermore, a war between 
Yugoslavia and the Socialist Block became a possibility.  
During the conflict, in the background an 
“intelligence-war” evolved, the services of the two 
countries tried to collect more and more information about 
each other. Stalin’s death became a turning point in the 
relationship of the two countries, between 1953 and 1956 
a slow-paced procession of normalization happened 
between the Soviet Block and Yugoslavia. The final act of 
the normalization was a high-ranked Hungarian political 
delegation’s visit to Yugoslavia in October 1956.  
 The introduction of every aspect of the Hungarian-
Yugoslav relation would fill several books, therefore I 
focused my research mainly on three topics:  
 In the first part of the dissertation, I introduced the 
political-historical aspects of the Hungarian–
Yugoslav relationship, mainly in chronological 
order, and added the economic, social and military 
information if it was necessary. 
 The second part of the dissertation is about the 
history of the Hungarian Embassy in Beograd, 
introducing the relationship of its members and the 
investigation of the question of how the embassy 
could work during the conflict. 
 The third main topic of the dissertation is about the 
“intelligence-war”, the history of the state security 
services and its comparison with the similar 
Hungarian services.   
 
II. The method of the research 
 
The history of the Hungarian–Yugoslav relations 
between 1945 and 1956 has a relatively rich Hungarian 
literature, but unfortunately in the ex-Yugoslav countries 
the historians didn’t take much interest in the topic, 
therefore the specialized literature is not as significant as 
in Hungary. The primary sources of the dissertation are the 
documents located in the Hungarian archives, mostly in 
the National Archives of Hungary. Among other things, I 
researched the papers of the Hungarian Ministry of 
Foreign Affairs and the papers of the Hungarian Embassy 
in Beograd. Unfortunately, the document located in the 
Serbian archives are only partly researchable or 
completely unresearchable (mainly for Hungarian 
historians).  
The documents about the intelligence services and 
the “intelligence-war” are very special forms of the 
historical sources. There are plenty of documents in the 
Historical Archive of the State Security Services about the 
Hungarian–Yugoslav relationship, but the analysis and the 
assessment of the documents is complicated. First of all, 
there is no possibility to compare the statements of the 
papers with the similar papers found in the Serbian 
archives. Secondly, the documents were born in a 
conspirative environment, therefore the statements in the 
papers didn’t always meet with the real world’s events. 
Furthermore, the documents are not complete, over the 
decades a lot of the papers were destroyed or simply 
disappeared from the archives. Beside the problems 
detailed above, in my opinion the usage of the state 
security papers is reasonable because it introduces other 
aspects of the conflict, too. 
The reports of the Central Intelligence Agency 
(CIA) are researchable online. To this day lots of 
documents are still secret, but the researchable papers 
show us a third point of view to the events. 
 
III. The results 
 
The history of the Hungarian-Yugoslav relations 
between 1945 and 1956 has been split in four parts in the 
dissertation, mostly in chronological order. The first part 
is from the end of the war until the decision of the 
exclusion of the Yugoslav Communist Party from the 
Cominform in July 1948. The next two parts are about the 
relationship during the conflict, while the fourth bigger 
part is about the process of the normalization between 
1953 and 1956.  
The first part of the dissertation mostly leans on the 
literature; however, it has been completed by the result of 
the new resources, because the documents of the 
Hungarian Embassy in Beograd gave a lot of new 
information. The papers of the state security services 
provided several new information about the conflict and 
about the incidents happened at the Hungarian-Yugoslav 
border. The papers of the Hungarian Embassy helped to 
nuance our knowledge about the period of the 
normalization, therefore it is shown in the dissertation 
what kind of obstructive factors slowed the normalization 
between the two states. 
 In the second part of the dissertation a lesser-
known aspect of the relationship has been shown: the 
history of the Hungarian Embassy in Beograd and the 
intelligence-war between the two states. The legation 
restarted its work in 1947, but the conflict has changed the 
daily life of the diplomats in Beograd because they had to 
work in a hostile environment. About the years 1950 and 
1951 there are only a few papers in the archives and only 
one paper from 1953 gives an answer to this hiatus. 
According to it, one agent of the Hungarian military 
intelligence service who worked in Beograd destroyed all 
the papers by fire. In the document of the embassy became 
conspicuous that most of the diplomats were 
unprofessional and they didn't speak foreign languages 
and this deficiency impacted the quality of their work and 
influenced the relationship of the countries. 
The Hungarian residency in Beograd worked 
between 1953 and 1956 but it didn't function well. The 
agents of the residency couldn't reach any result in the 
field of intelligence. It was not only their fault but the 
headquarters’ one in Budapest, too. In the dissertation the 
organizational history of the Hungarian and Yugoslav 
state security services is presented and also compared. 
Unfortunately, there are only a few available literatures in 
the topic of the Yugoslav state security services, even so 
by the Hungarian documents about these services seems to 
be enough to picture its organizational history. I'm aware 
of the fact that in the future new papers can be presented 
about the Yugoslav state security services that will add 
more information about the topic. 
In the final chapter of the dissertation the history of 
the lesser-known Zagreb trial has been presented. During 
the trial, three former KOS officer were convicted because 
they worked for the Hungarian services. Aranka Urbán 
was one of the main characters of the event, whose story 
is a sad example of how the conflict affected the life of the 
citizens. During the research of the papers, it became 
obvious that the state security services’ archive documents 
raise make more questions than they answer.  
 
 
  
IV. Publications of the author 
 
• DOMJÁN Dániel Ferenc: Ütközőpontok a magyar-
jugoszláv viszonyrendszerben a Kominform - konfliktus 
idején, a belgrádi magyar követség levéltári anyagának 
tükrében, Studia Vincentiana, 2016/1-2. 39-53.p. 
• DOMJÁN Dániel Ferenc: Magyarok a jugoszláv 
partizánhadseregben, In: BALOGH-EBNER Márton; 
GYÖRGY Sándor; HAJNÁCZKY Tamás (szerk.): Nem 
mindennapi történelem : Válogatás a Napi Történelmi 
Forrás szerzőinek írásaiból, Gondolat Kiadó, Budapest, 
2017, 107-114.p. 
• DOMJÁN Dániel Ferenc: A belgrádi magyar 
követség helyzete a Kominform-konfliktus idején, Külügyi 
Szemle, 2018/4, szám, 66-79.p   
• DOMJÁN Dániel Ferenc: A Yugoslavian show trial 
: the history of the Zagreb spy trial and its background, 
Études sur la Région Méditerranéenne – Mediterrán 
Tanulmányok 28 pp.  
2019. 101-109. p. 
 


Kényszerpályák és különutak

Prontvai Vera

Pázmány Péter Catholic University 
Faculty of Humanities and Social Sciences 
 
 
Vera Prontvai 
Poetry and Rituality in Contemporary Hungarian Theatre 
Attila Vidnyánszky’s Directions and András Visky’s Staged Dramas  
Doctoral Theses (PhD) 
Dissertation Supervisors: Enikő Sepsi PhD, Anikó Radvánszky PhD 
Doctoral School of Literary Studies 
Head of Department: Emil Hargittay DSc. 
 
Budapest 
2022
1 
 
 
Table of Contents 
Background of the research, problem identification..................... 2 
Research methods ............................................................................ 3 
Research results ............................................................................... 5 
The survival of Pilinszky's theatrical idea ................................. 5 
Poetry and rituality ..................................................................... 8 
The body-interpretation of the performances ........................... 9 
Contemporary mystery plays ................................................... 10 
Publication activity ........................................................................ 12 
 
 
2 
 
Background of the research, problem identification 
The dissertation explores the question of how ritual and poetic 
elements can be embedded in the theatrical world of contemporary 
Hungarian artists such as Attila Vidnyánszky and András Visky. The 
doctoral thesis focuses on the work of these two theatrical figures 
because the works of these two artists have never been examined 
side by side, nor have all of Visky's works for the stage been 
considered in a summative study. My questioning also focuses on the 
similarities and differences between the poetic theatre represented by 
Vidnyánszky and Visky, approaching them from the aspects of the 
role of the body, dramaturgy, and the treatment of space and time. In 
my research, I also examine whether the performances analysed are 
situated within the framework of the evangelical aesthetics described 
by Pilinszky, and if so, under what conditions, and whether the poet's 
theatrical vision continues to live on in contemporary theatrical 
practice. 
Enikő Sepsi's monograph Pilinszky János mozdulatlan színháza 
Mallarmé, Simone Weil és Robert Wilson tükrében,1 which  explores 
the relationship between poetry and rituality in the theatre imagined 
by the poet, can be considered as an inspirational source for the 
research. The work of the research groups at the Károli Gáspár of the 
Reformed Church in Hungary, especially the scholarly focus and 
results of the Rituality, Theatre, Literature Research Group, can also 
be seen as a precursor to this dissertation. 
                                                          
1SEPSI Enikő, Pilinszky János mozdulatlan színháza Mallarmé, Simone Weil és Robert 
Wilson műveinek tükrében, Budapest, KRE – L’Harmattan, 2015. 
3 
 
Research methods 
The corpus of the dissertation consists of Attila Vidnyánszky's 
portrayals of Christ – Gyilkosság a székesegyházban, Mesés férfiak 
szárnyakkal, Halotti pompa, Johanna a máglyán, Csíksomlyói 
passió, Bűn és bűnhődés –, and Visky's staged dramas – 
Tanítványok, Alkoholisták, Pornó, Megöltem az anyámat, 
Caravaggio terminal, Visszaszületés, A szökés, A test történetei.  
The works of these artists are in the focus because they are based on 
the same mechanism of action, and they are also the ones in which 
the striking features of Pilinszky's theatre aesthetics are most 
evident. 
The analysis of the theatrical performances - based primarily on 
ritual and semiotic foundations - was made in view of the activities 
of the workshop around the National Theatre and the writings of 
theatre theorist András Visky, whose interpretation allowed a deeper 
insight into the performances. As there is a scarcity of literature 
reflecting on the theatrical work of Vidnyánszky and Visky, I had to 
turn to sources who were actively involved in the creation of the 
theatre productions discussed: I made a number of audio recordings 
with dramaturgs and actors of the National Theatre, authors and 
directors of the productions. Also, the aim of the interviews was to 
conduct authentic research, both summarising the activities of the 
workshops to date and reflecting on them to inspire the creators to 
integrate interpretative pathways into theatrical practice. 
The performance analyses were developed within an 
interdisciplinary framework, with emphasis on theories of ritual 
4 
 
theatre, performativity, semiotics, spatial analysis, the role of the 
body, and the specificity of mystery plays. Moreover, the dissertation 
also engages in a dialogue with contemporary discourse on 
Hungarian poetic and ritual theatre. In my view, the perspective of 
applying these theories has allowed the characteristics of poetry and 
rituality to be explored and presented in the theatrical worlds of 
Vidnyánszky and Visky. 
One of the aims of the dissertation is to make the study of poetry 
and rituality among contemporary artists part of the discourse of 
theatre theory. The first part of the dissertation describes the 
research, aspirations and experiments of the greatest artists of 
Western theatre in relation to ritual theatre and discusses initiatives 
of ritual theatre. After describing the directions of ritual theatre, the 
dissertation discusses the transformation cycle introduced by Visky. 
This is followed by a chapter on Pilinszky's theatrical vision, 
synthesising the relevant research results, and then demonstrating 
that the most characteristic features of the theatre imagined by the 
poet live on in the works of Vidnyánszky and Visky. In a separate 
chapter, I explore the rites and liturgical features that characterise the 
theatrical world of the authors, and then the liturgical structure on 
which, in my opinion, the performances they stage are based. The 
characteristics of poetic theatre, its ritual and liturgical features, its 
mechanism of action, its interpretation of the body and its references 
to mystery plays are supported by the analysis of a number of plays. 
5 
 
Research results 
The survival of Pilinszky's theatrical idea 
The new, original aspect of my research is that it applies the 
characteristics of Pilinszky's theatrical aesthetic analysed by many 
others (Tamás Hankovszky,2 Ibolya Maczák,3 György Mészáros,4 
Enikő Sepsi5) to the work of contemporary Hungarian artists, and 
shows the characteristics of the poet's evangelical aesthetic and 
liturgical theatre in the works of Vidnyánszky and Visky. The 
author, who lives in Cluj-Napoca, refers to Pilinszky's theatre as a 
point of reference in several of his writings and statements, although 
the Berehovo-based director does not do so, although some of his 
productions do show similarities with the poet's theatrical vision. 
a., Like Pilinszky, the theatrical world of both artists create 
liturgical structures on stage: the structure of their 
performances can be compared to the structure of the Holy 
Mass. This structure places the performances in a semantic web 
that triggers the operating mechanism of the central metaphor 
and can prepare the audience for action while placing 
redemption at the centre.   
                                                          
2HANKOVSZKY Tamás, A „hit közegében” fogant esztétika, Tiszatáj, 2011, dec., 89-
105. 
3MACZÁK Ibolya, Papírdarabok. Pilinszky János drámaírói munkássága, Budapest, 
Balassi, 2015. 
4MÉSZÁROS György, Pilinszky János színházesztétikája, Iskolakultúra, 2006/3, 44-52. 
5SEPSI, Pilinszky János mozdulatlan színháza Mallarmé, Simone Weil és Robert 
Wilson műveinek tükrében, i. m. 
6 
 
b., Their plays can be classified as liturgical works not only on 
the basis of thematic principles, but also because the function of 
the productions is equivalent to the effect of the rites.  
Vidnyánszky's and Visky's plays are not only determined by 
issues of content, but also by performative acts inherent in 
ritual and liturgical events. 
c., The performances studied also contain a number of ritual 
elements that refer to Christian culture and Hasidic traditions. 
d., The concept of stage presence in the theatre of the authors 
examined in the dissertation goes beyond the experience of the 
actor's intense presence time and takes on a new perspective: 
the loss of the theatre's presence is experienced, as in 
Pilinszky’s case as a metaphysical problem. Their use of 
theatrical language is often identical to the Church's use of 
words and meanings, and they interpret stage presence as a 
manifestation of transcendence. 
e., Just as murder is one of the most frequently used metaphors 
in Pilinszky's oeuvre, it is one of the most fundamental 
metaphors of the performances analysed. The directors not only 
universalize the sufferings of the individual in history, but also 
parallel them with the suffering of Christ. 
f., The poetic theatre of Vidnyánszky and the poetic theatre of 
Visky - like Pilinszky's - can be compared to poetry because of 
the organisation of the performances on stage and the function 
of the central metaphors written in space. However, the 
performances analysed are also characterised by the features of 
7 
 
poetry: strong musicality and imagery, metaphoricity, 
dramaturgy suggestive of montage. 
g., Vidnyánszky's productions and some of Visky's dramas can 
be classified as contemporary mystery plays, miracles or 
passion plays. 
h., "A. ꞊ a. This is the basic formula of all art."6 - Pilinszky 
wrote in his diary notes, and I believe that this connection is the 
starting point of the theatre of the two authors in question. The 
collective myth evoked by the performances can be placed in 
the present time of the human bodies present, questioning their 
own (body) image. The performances may break the familiar 
boundaries of the body's meaning, giving the audience the 
opportunity to place them in a different conceptual space. 
i., Visky - like Pilinszky - deepens the structure of his dramas 
in the direction of Beckett's dramaturgy of expectation. 
k., The dramaturgy of the analysed performances bears the 
traces of fragmentation. The visual representation of the plays, 
the dramatic texts created from poems and/or mosaics of text 
fragments, the use of space, the illustration of mutilated human 
bodies, the alternation of stage images, the shortcomings of 
storytelling, make the components that define the performances 
(use of space, dramaturgy, scenography, script) fragmented. 
                                                          
6 PILINSZKY, Naplók, töredékek, i. m., 116. 
8 
 
Poetry and rituality 
At the heart of Vidnyánszky's and Visky's theatre, which he calls 
poetic, is the spatial inscription of the central metaphor and its 
liturgical function. Their staged works have structural characteristics 
that are driven by a central metaphor that Northrop Frye called 
"king"7. This central metaphor is expressed in the images displayed 
on stage during the performances, in the possible exploitation of 
spatial structure and in the figurality of the scenery, and then reaches 
its fullness in the human body present. The role of the characters in 
the performances and the spectators present can also be understood 
in relation to the central metaphor of the play. The central metaphor 
spreads throughout the space of the stage and extends to the body of 
the spectator, leading to a state of catharsis (rapture). The central 
metaphor of the performances can be traced back to the events of 
Christ.  
   Each of the performances analysed can be examined through 
Visky's transformation cycle, in which form is not only the work of 
art, but also the bodies of the participants: the effect of theatrical 
performance, which has a ritual - and transformative - function, can 
be felt in the experience of the human body. The founding event and 
reference point of the performances is the redemption, the evocation 
of the event of Christ's death and resurrection through the liturgical 
structure and the allusions of the scenic set on the stage. 
 
                                                          
7 Northrop FRYE, Kettős tükör. A Biblia és az irodalom, Budapest, Európa, 1996, 159-
161. 
9 
 
The body-interpretation of the performances 
Both artists explore themes related to the human body, linked to the 
concepts of murder, the human body subjected to violence, 
infertility, addiction and physical confinement. They explore the un-
narratability of physical and psychological suffering, how the 
representation of human suffering becomes poetry in the space of the 
stage, and the relationship of the individual to his or her own body or 
to the body of another. Their theatrical world creates a language at 
the centre of which is the human body that has experienced physical 
or mental trauma.  
At the heart of their scenic poems is the operation of the metaphor, 
which allows for the transformation of the person present in such a 
way that the metaphorical representation does not remain within the 
framework of the artwork alone, but can also make the present 
person himself a metaphor for Christ through transformation. Both 
Vidnyánszky's and Visky's liturgical and poetic theatre is 
characterised by their interpretation of the human body as a 
metaphor: a metaphor of Christic life story. The collective myth 
evoked by the performances can be placed in the present tense of the 
human bodies present, and the already familiar interpretative frames 
of the human body can be uprooted. The recipient forced to place 
them in a different conceptual space, the coveted catharsis of 
experiencing the transcendent dimension also affecting the bodily 
presence of the spectator. 
The traumas presented, and the effect of the metaphorical work 
already explained, can be the shock of the spectator's experience of 
10 
 
God in the theatre, as the individual realises his or her own 
redemption. The human body at the centre of the (stage) world - the 
body of the participants - is a surface through which transcendence 
can break through the infinite and take a finite, determinate form. 
Contemporary mystery plays 
Vidnyánszky's productions and some of Visky's dramas can be 
classified as contemporary mystery plays (Mesés férfiak szárnyakkal, 
Halotti pompa, Bűn és bűnhődés, Tanítványok, Alkoholisták), 
miracles (Gyilkosság a székesegyházban, Johanna a máglyán) or 
passion plays (Csíksomlyói passió, and all Visky monodramas in a 
broader sense).  
In Vidnyánszky's portrayals of Christ and in Visky's theatrical 
world, the centre of the performance does not appear as a character 
on stage, but the scenery of the performances creates a theatrical 
aesthetic trace through which the non-present candidate - Christ - can 
be evoked. The references to the non-present candidate in their 
mystery plays enter into an allegorical field of meaning through 
poetic theatrical language, extending the basic metaphor of the 
performances, which permeates the whole theatrical text. 
Vidnyánszky's and Visky's contemporary mystery plays revolve 
around themes of murder, death, crime committed and trauma, with 
many elements of mourning rituals, and Vidnyánszky's productions 
also have some of the traits of folk plays. 
11 
 
The theatrical world of the artists studied 
In the plays, talk of absolute reality is spoken in a fragmented 
language of incompletion and unfulfillment, which I have called the 
aesthetics of woundedness. The interpretation of the murder of Christ 
as an extended moment, the timelessness of the components that 
define the performance (use of space, dramaturgy, scenography, 
script) make it fragmented, and therefore similar to the barrack or 
autistic dramaturgy used by Visky and the fragmentary dramaturgy 
associated with Vidnyánszky.  
The use of body, space, time and language that follows from the 
dramaturgies used can help those present to move from one level of 
the stage element,8 as defined by Søren Kirkegaard, to another, and 
finally to the religious stage. The Danish philosopher's insights, the 
characteristics of the aesthetic, ethical and infinite state of 
resignation, can also be applied to the process that takes place during 
theatrical performances. The performances all fall into Visky's 
category of the theatrum theologicum in terms of the time, space and 
plot management and the function attributed to the performances. 
The dissertation opens up the possibility of further deepening the 
definition of poetic theatre, in parallel with contemporary theatre 
theory research. It also draws attention to the theatrical connections 
between rituality and poetry in the theatrical world of Ottó Tolnai, 
András Urbán or János Térey. 
                                                          
8 Søren KIRKEGAARD, Vagy-vagy, ford. DANI Tivadar (Budapest: Osiris, 2019), Søren 
KIRKEGAARD, Félelem és reszketés, ford. RÁCZ Péter (Budapest: Európa Könyvkiadó, 
1986) 
12 
 
Publication activity 
PRONTVAI Vera, Barakkból a végtelenbe, Pilinszky színházeszménye 
és Visky András Caravaggio terminal című drámája, Vigilia, 
2016/10, 745-751. 
PRONTVAI Vera, Megérinteni vagy meghaladni Istent? A metafizikai 
színház jellemzőinek vizsgálata a Mesés férfiak című 
színielőadásban,= „Uram, hogy lássak”, szerk. ZILA Gábor, 
Budapest, Doktoranduszok Országos Szövetsége, 2016, 251-261. 
PRONTVAI Vera, Amikor Isten késni látszik, A transzformáció köre a  
Visszaszületés című színielőadásban = Mellékzörej, Írások Visky 
András 60. születésnapjára, szerk. SEPSI Enikő – TÓTH Sára, 
Budapest, KRE-L’Harmattan, 2017, 141-152. 
PRONTVAI Vera, Visky András: Ki innen: Hét színházi kísérlet, 
Vigilia, 2017/6, 476-477. 
PRONTVAI Vera, A sebzettség esztétikuma: a hiátus szerepe a Halotti 
pompa színrevitelében, Alföld, 2019/7, 78-84. 
PRONTVAI Vera, Visky András: Mire való a színház? Útban a 
theatrum theologicum felé, Vigilia, 2021/, 8. 
PRONTVAI Vera, Kísérlet a liturgikus színház kompozíciójának 
megragadására, Az igazság keresése Visky András Tanítványok című 
drámájában = Vallás és művészet, szerk. FALUSY Judit – KISS 
13 
 
Gabriella – LOVÁSZ Irén – SEPSI Enikő, KRE-L’Harmattan, 2016, 
283-294. 
PRONTVAI Vera, A metafora liturgiája =  Pilinszky János színházi és 
filmes víziója ma, szerk. MACZÁK Ibolya – SEPSI Enikő, Budapest, 
KRE – L’Harmattan, 2022, 97-108. 
 
PRONTVAI Vera, Átlépés a határon. Søren Kirkegaard 
stádiumelmélete Visky András A szökés című drámájában, Theatron, 
2022/6, 14-25. 
 


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