[ad_1]
From the moment he realized it, he became an actor. He trained as an operetta actor at the Rákosi Szidi Theater School. During his rural years, he made a legendary friendship with Gyula Kabos, and later became known nationally as a cabaret actor in Pest. Due to his special production, his fans only mentioned “Gyuri Füttyös” at the same time. Later he was invited by Antal Németh to join the National Theater Company. Gyula Gózon became one of the best character actors of his generation in During the War, Lili Berky incites Gyula Gózon, who was ordained off the stage because of his origins. In the communist era, Berky Lili was removed from the National Theater for pedagogical reasons and transferred to another theater. the pain he experienced and never spoke of, in Schiller’s Trick and Love. He lost Gyula Kabos in the 1940s. After the death of his wife in the 1960s, Gyula Gózon collapsed forever. At the end of his life, his connection to reality was lost, his dependents designated his residence in a small corner of a paneled apartment.
One is coloring, the other is more satirical
Gyula Gózon had Gyula Kabos’ best friend.
Gyula Kabos gladly told me in company: when I was a child, when my name was Gyula Kann, I worked as a commercial agent, but his boxer father knocked him out when he let him know: whatever his father was planning, he was only interested in the theater.Gyula Kabos also often mentioned that he was knocked out by his shadowy father (of course, they tracked him down) when he was locked up in a rural theater company at the age of fifteen.
The locations of the eruptions changed sequentially during the subpoenas. The documentable facts of Kabos’ life also often contradict what the actor narrated in the highly colored stories. The actor and his father sometimes stayed elsewhere during the episode recalled by Gyula Kabos. What can be taken for granted: Zsigmond Kann may have been against his son’s career choice. The fluctuations are probably explained by the fact that Gyula Kann, already with the surname Kabos, avenged his father’s former resistance with colored stories, the rigor, perhaps slapping, with which he tried, to no avail, to steer his son toward a career as an accountant instead of acting.
Gyula Gózon says in various interviews that her parents did not support her career choice either. However, he retaliated against his ancestral resistance in a different way. During his memories of the past, he left their identities in the shadows, almost eliminating them from his life.What is certain: Gyula Gózon was born on April 19, 1885 in Érsekújvár.
The family living in Esztergom had just visited the maternal grandparents. It is also a fact, as can be seen, for example, from the registry of the Jewish community in Ersekújvár, that the newborn’s father is named Simon Groszman and his mother Emilia Binether.
However, Gyula Groszman, already according to Gózon, always revealed only in subsequent interviews about the character of his parents: they did not even want to know about the attraction of children to the field of color. He doesn’t mention punching. But the slaps, more real than those that Kabos received, could not swim little Groszman either.
Doesn’t run for elite training
Gyula Gózon tells in an interview: When I was a second realist, Mr. Great tried to get acting out of me. Before class, he asked the class who they wanted to be. He always left me one last time. “Well what are you going to be?” He asked me. “Actor!” I replied, holding my face under his palm. Because that’s when the slap came out. For two years, before each class, Mr. Great asked me what I wanted to be and I answered firmly: actor. And he did exactly that slap.
In her memoirs, Gyula Gózon forgets to name her brother after her parents, but speaks with love. Back in school, they made fun of me as an actor because I discovered my teachers. He also had a nice voice so I sang a lot. However, my parents did not want to know about my plans in this direction. But secretly he only dreamed of it. From Esztergom, where we lived, my brother once took me to Pest. He was an official in the capital and he also knew some famous people. He took me with him to a company where I had to produce myself: he sang. Among the guests was Lajos S. Rózsa, the baritone of the Popular Theater. Uncle Rose listened carefully and took her to the Popular Theater the next day to show what the theater was like inside. I was really dizzy from the many views. Up and down stairs. In the end, I solemnly swore: I would be a singer!
Gyula Gózon’s brother is seeking a training opportunity for his brother following the advice of Lajos S. Rózsa. They are the first to go to the popular theater actor at the Folk Theater, Elymosi Solymosi. Solymosi offers young people: his small institution is a true elite coach. All this is reflected in the monthly tuition of eighty pengos. He doesn’t run to his brother for elite training.
Lucky for the rehearsal, they call the Rákosi Szidi school, which specializes in supplying operetta actors. Aunt Szidi is the first to ask Gyula about her family. The boy says the most important thing: in no way do I want him to be an actor. Aunt Sidi likes the answer. The mere act of confronting parents suggests talent. Aunt Szidi puts on the piano the director of the family-run Király Theater, József Bokor, under the direction of her son, László Beöthy. Gyusz is asked to sing, accompanied by the conductor.
Save a gig, get sent to the field, sing Gorky
After its production, József Bokor recommends that you be admitted to the school with reduced tuition and paid statistical opportunities. The director also recommends not to force his training in prose, to take the child to the opera.
Gyula Gózon then recalled his studies as follows: They were expelled from comedy and drama classes. I ran away from dance classes.Meanwhile, in addition to the King’s Theater, he also performs at the People’s Theater. In Prince Bob with another student of color, Gyula Kabos. / I am a student of Gyula Kabos at Elek Solymosi’s school, he does not know what he is doing. / They meet him during rehearsals, they are already best friends on the show.
Although Gyula Gózon escapes from dance lessons, still, if he can, he is not bound by his statistical duties, he sneaks backstage at King’s Theater rehearsals and performances. Once, Lysistrate is on the show when the tenor falls ill and the curtain cannot rise for long minutes. The caretaker looks at Gyuszi and has a quick conversation with the watch director. Gyula Gózon summarizes what happens below:I went in, saving the performance. This is how I was first noticed and my career began.
At the end of Gyula Gózon’s studies, director Bokor says: go to the field and learn the profession more thoroughly. The newcomer is in the medieval district of Károly Polgár through Rákosi Szidi. The main stations of the tour company are: Sombor, Zenta, Nagybecskerek, Nagykikinda, Nagyszentmiklós, Herkulesfürdő, Târgu Mureş and Miercurea Ciuc.
They occasionally meet the young actor and friend of the Subotica company, Gyula Kabos. There is still no time for the formation of common lumps.
At the Polgár company, another show is held every week so that the public does not get bored of them.Late at night, Gyula Gózon learns more and more roles alongside a flickering kerosene lamp. In comedies, dramas, operettas, popular plays. Worth it. Thanks for your first success.
A critic of Zentai Híradó wrote in October 1904, in relation to Gorky’s Night Shelter: Gózon surprisingly played the role of a depraved suhanc and sang even more surprisingly. Good.The praise sentence also proves that at the Polgár company, Gorky’s beaten work was studded with song inserts. On the one hand, taking advantage of the excellent singing voice of Gyula Gózon. On the other hand, also taking into account that the public is not mainly receptive to beaten works, but to insertions of songs.
Paris on the banks of the Körös
At the request of László Polgár, Miklós Erdélyi, director of the Szigliget Theater in Oradea, will visit Gyula Gózon twice. First in Miercurea Ciuc, then in Târgu Mureş. Transylvania enjoys not only the young Gyula Gózon’s performance, but also his respect for his older colleagues.
But still let him play.
Gyula Gózon spends three and a half years with László Polgár, when the director, who carries his destiny in his heart, delivers “Gózonka” to the company of the director of Oradea at the request of Transilvania. The actor comes to town in the early fall of 1906.
Oradea’s snow-white-faced stone theater, at the entrance of which a staircase climbs, overlooks Place Brémer, where you will find cafes and elegant shops.
The writer Ákos Dutka paints the essence of the theater at that time in his article The City of Tomorrow:When crowded with crowds, it sparkles and splits, and a warm, magnetic current embraces the thousand-eyed Caesar from the gallery with overly elegantly dressed ladies and theatergoers from the lodges and downstairs. Because this audience is a picky theater goer, they always want a sensation. This is what you expect from your favorites. He always has his beloved favorite prima donna, character actors and especially his singing bonvivans, the favorites of the beautiful women of Oradea.Being in Oradea, belonging to the company of the Szigliget Theater, the dream of a Hungarian actor performing in all regions at that time. Secure livelihoods, professional rank.
Gyula Gózon will perform for the first time on October 13, 1906 in Oradea. He plays the role of Cadet Blitzky in Ferenc Herczeg’s The Daughter of Nabob de Dolová.
The critic of the Diary of Oradea praises the young actor as follows: First of all, we have to mention Gyula Gózon, who made a really sensational appearance in the role of cadet. He played his heavy, subtly colored role with easy frankness, empathetic intelligence, naturalness. We notice this naturalness in his style of play. It has many colors and many different ideas, and its ingenuity and originality, this is its greatest virtue, it will not disappoint you for a moment.
The role of the cadet is followed by Gedit, the gypsy, in Judge Sari. It follows Hamlet Rozenkranza, then the work of Chaplain Sándor Bródy, The Master.
Gyula Gózon is increasingly being invited to lunch and dinner by wealthy theater-loving families in Oradea. However, your presence is only coloring the company, your presence is not an event. It is not enough to entertain the people of Oradea, you have to impress.Not only the theater, but also literature is an important medium for the intellectual life of the city. Two years after the arrival of Gyula Gózon, in the summer of 1908, the versantology A tomorrow was published in Oradea. Enter the young and modern generation of poets of the time, led by Endre Ady, Gyula Juhász, Mihály Babits, Béla Balázs, Ákos Dutka, Tamás Emőd and a young poet, Jutka Miklós.
On October 15, 1908, a literary society was established at the Emke Café in Oradea under the name of Mañana. Gyula Gózon will also participate in the opening evening. Also as a member of the Gyula Juhász coffee table company. In his own profession, however, he still awaits the possibility of a real leap.
Not done yet, scroll to continue.
[ad_2]
