Miklós Gábor

(redirected from Miklos Gabor)

Gábor, Miklós

 

Born Apr. 7, 1919, in Szekesfehervar. Hungarian actor. People’s Artist of the Hungarian People’s Republic (1967).

Gábor graduated from the Academy of Stage Arts in Budapest in 1940. During World War II (1939-45) he took part in the resistance movement. From 1945 to 1954 he was an actor in the National Theater, and in 1954 he became an actor in the I. Madach Theater. Gabor’s more significant work has been in Shakespearean roles: lago (Othello, 1954), Romeo (Romeo and Juliet, 1956), and Hamlet and Richard III (Hamlet and Richard III; 1962 and 1969). A follower of K. S. Stanislavskii, Gabor is able to completely transform himself into the character. He performed with great dramatic quality and temperament in the roles of Henry IV in Fust’s Henry IV, Satin in Gorky’s The Lower Depths, and Mack the Knife in Brecht’s The Threepenny Opera, among others. Gabor is also a popular film actor and has appeared mMishka the Aristocrat, Alba Regia, The Father, and other films. He was awarded the Kossuth Prize in 1953.

WORKS

Tollal. Budapest, 1963.

REFERENCES

Gershkovich, A. Po teatram sotsialisticheskikh stran. Moscow, 1965.
Gershkovich, A. “Vstrecha s vengerskim Gamletom.” In the collection Shekspirovskii ezhegodnik. Moscow, 1968.

A. A. GERSHKOVICH

References in periodicals archive ?
This actor, by the way, uncannily reminds one of Miklos Gabor, whose memoirs were reviewed in WLT 72:1 p.
Draga Liv can be characterized as postcommunist fiction "in search of lost time"--time lost because of a collective amnesia that befell Hungary for three decades (the memory of the 1956 revolution) as well as time lost because only those exceptional individuals could be authentic and free who made an effort to reconnect with an earlier tradition of authenticity exemplified by Gombrowicz, Mandy, Grotowski, and (perhaps) Miklos Gabor.
For the Gabors this was not an easy period, and it is remarkable that forty years later the now septuagenarian Miklos Gabor manages to give a literary account of those days which is lively, not detached, and altogether gripping in its tortured frankness.