COURAGE

povezivanje zbirki

Prosvjeta’s archival records were turned over to the Croatian State Archives, then the Archive of Croatia, on two occasions: in 1947 (acquisition 2/1947) and the second time shortly after the abolition of Association, on 23 February 1981 (acquisition 2/1981). The records were relinquished for permanent safekeeping, and accessible for use and research as of 1 January 1983, with the right of disposition in accordance with the prescribed disposition dates.

László Lajtha received the national Kossuth Prize for his work as an ethnographer and folk music collector. This gesture did little to offset the fact that in 1948, upon his return from London, the Hungarian government denied him a passport, thereby forcibly keeping him in Hungary where he was blacklisted. He refused any connection with the Communist Party, and had to sell his belongings to make ends meet. Lajtha was a world-famous composer, and without a doubt, it was extraordinary that he was prohibited from traveling. The Kossuth Prize was a symbolic gesture, one that permitted him to travel within the country collecting folk music and songs without allowing him to leave.

In 1952, László Lajtha coauthored a play entitled The Exiled Maid: A Chronicle from 1764 (Bujdosó Lány, Krónika 1764-ből), which was performed nine times but which within a year had been prohibited by the regime. His coauthor was Áron Tamási, an ethnic Hungarian author from Transylvania. The story of the play is very simple. It is a monologue based on the story of the Massacre at Mádéfalva (Siculeni, Romania). The play consists of four folksongs in Lajtha’s adaptation. Lajtha collected these songs during his collecting trips in Transylvania between 1911 and 1914 and in 1943. Tamási wrote texts before, between, and after the songs. They finished the work in 1952, and the main actress was the also unheeded Márta Mezey (1909–1983). The monologue must have been extraordinary and bold. First, it was based on Transylvanian songs instead of Soviet ones, and the writers, Lajtha and Tamási, were so-called déclassé elements (meaning people who earlier had been members of the middle class but who had lost their social positions and were regarded as enemies by the socialist state). Within a year, it had been banned by the regime. Seven years later, as the Kádár regime began to adopt a different cultural policy, Bujdosó lány was performed again, with Mezey in the role again.
Tamási moved to Hungary in 1944 and stayed in the country until his death. In the bequest, one finds many documents in connection with him, since he and Lajtha were friends.