Imre Sinkovits

From the Hungarian Wikipedia page

Imre Sinkovits ( Budapest, 1928 . September 21 - Budapest , 2001 . January 18 ) , the National Actor of honorary title, Kossuth - and double Jászai Mari-winning Hungarian actor, worthy and excellent artist. His brother, László Sinkó, Kossuth Prize-winning actor, his wife, Katalin Gombos was also an actor. Their children are András Sinkovits-Vitay (1952) and Mariann Sinkovits (1954).

Vas County, Croatian. Born in Budapest, Jenő Sinkovits was born as a hostess and Göndöcs Terézia's firstborn son. He grew up in Kispest, where he grew up alongside his grandfather, Vince Sinkovits, who continued to talk about Attila, Queen Chaba, the way of the war, 1848 and the First World War. The economic crisis broke the family's small restaurant. From this the child Sinkovits only realized that they had to move to a smaller apartment, where his younger brother was born later. His mother tried to add to the family's income by sewing, while still in German he taught his son. This was a great benefit during the Second World War.

The family's situation has stabilized slowly, and his father has earned a position in the famous Ilkovics restaurant and became a student at the Árpád High School. He was part of a lifetime experience at school. Here was a scout that filled every minute of his youth. He claimed that he brought life, morality, patriotism, companionship, faith, loyalty, self-reliance, self-discipline, craftsmanship and hard work, diligence and ingenuity, accustomed to Hungarian folk songs and folk tales, natural knowledge and love, bird protection and hiking culture. Catholic Faith, dr. Lajos Könözsy even thought of the priestly career. After the feedback, the Highland camped a scout camp beside the Shelter. During the war, reluctantly, buthe also participated in the Levente movement. She didn't like being a scout and she thought the two movements were both fire and water. After a lavender practice, when an instructor had humiliated her name before her fellow students, her father suggested that they should change their family name. But Sinkovits responded, "No, Father! Now I just show it with this name! ”

During World War II - as a scout - he carried out a damage monitoring service at the Margaret Island water tower and at the Szemlő Mountain Reservoir. Later, they moved to his uncle with his mother and two siblings to Somogy County , where he was captured as a gentleman's path for compulsory military work. Dock traps, trenches, machine gun nests on the edge of pigeons, sometimes walking ten miles a day in mud, frost. But his training and his devoted humor helped him, even he kept his soul in his companions. Towards the end of the war, he encountered an increasing number of retreating German soldiers (here he benefited from his mother's German language teaching), and even once on a train to Germany, butAt Szentgotthárd, he “missed” the train by accident.

When the Germans retreated, they "dug" by taking advantage of a few days of peace, but no longer a trench, but family silver, sunken flesh, fasting fat, honey, barrel of pálinka, and wine. escape from them as Malenkij robot wanted to catch. in autumn 1945 the school year started again in Árpád Grammar School. he graduated in 1947 and was admitted to the Színiakadémiára.

From 1948 he played at the Downtown Theater, from 1949 at the Youth Theater , as a scholarship for the audience of the Father's Youth. His colleague was actress Katalin Gombos, who at the time contracted Dama from Budapest to Budapest. Soon love came together and married in 1951. In the same year he graduated from the College of Theater and Film Arts and at the same time went to the National Theater where he played until 1956.

The National Theater Gyula Hay : Life Bridge was the first on the role of the drama, the play of his father Joseph Bihari shaped, with whom he has been friends with.

The breakthrough is Imre Madách Moses. of his piece. He played Moses with such a dramatic force that he played more than 700 times in this role for 22 years from the show.

1956 . On 23 October, Imre Sinkovits sang the National Song at the Petofi statue in front of ten thousand crowds, and the event was a symbol of the 1956 movement. In the evening, in front of Parliament, a mass demonstration in the building blended with Imre Nagy, the writers and politicians waiting for him, to experience the arrival and speech of Imre Nagy. [2]

1956 . On October 30, at 11 am, the National Committee for the Election of the Actors was elected at the National Theater. The event included the Madách Theater, the Opera House, the People's Army Theater, and the National Theater. Those present Bessenyei Francis and Hindi Alexander third Sinkovits Imre elected to Following followed Raksányi Gellert, Eva Severin , Joseph Juhasz , Marosi Charles , Paul Somogyvári , John Temesi , Paul Homm , Ban Joseph , Joseph George and George MountainThey followed. At the meeting, it was decided that actors and artists, as protesters, would stop working until Soviet troops stayed in Hungary, the ÁVH would not be disbanded and the criminals would not be held accountable, and until a full equality with the Soviet Union would be established. independent relationship. They also play against any kind of restoration and are not even willing to play on the Hungarian Radio.

In the same afternoon, the Revolutionary Committee of the Hungarian Association of Theater and Film Arts was invited to the theater theaters in Budapest by the Theater Association. Imre Sinkovits, Iván Darvas, Sándor Pécsi , Miklós Szakáts , Tibor Molnár, Miklós Lukács, Imre Palló and Ferenc Bessenyei were also elected members. Here, as a confirmation, they decided to close the theaters until the withdrawal of the Soviet troops. At the same time, artists from all of the country's theaters were invited to set up a revolutionary committee of theaters everywhere, and organizations would immediately contact the Revolutionary Committee of the Theater Association.

After the Soviet invasion of November 4, 1956 and the suppression of the revolution, the new power of Kádár suspended the operation of the committee, and shortly dissolved it, and commenced proceedings against its members for incitement to overthrow state power. Because of his popularity, Sinkovits did not dare to imprison him. [3] Instead of political pressure, the leadership of the National Theater first banned the scene for half a year because of anti-systemic conduct and was dismissed.“They wanted me to be public self-criticism, and I wasn't willing to do that. [...] Even our leading political politician tried to impress me: Comrade Sinkovits, you paved the way from the Petofi statue to the Republic Square. I refused this right there, then, right away. This would have been followed by the rescue action: to speak out loud. I said no, I have nothing to withdraw, ” the artist recalled in 1988.

During this period, investigators were constantly harassed, observed, taken for questioning. He took a different job for his family's life and worked as a toy injection molding machine. [3] It was only from 1958 that he was allowed to play as an actor again at the József Attila Theater in the suburban "proli" theater. His outstanding talent was also expressed here, and he succeeded in successively. In 1963, they returned to the National Theater Company, which was a decisive member for decades. One of the most famous film roles is the unforgettable shaping of the decimal and the others. His workplace, the National Theater from 2000 with a government decision to the Pest Hungarian Theaterwas renamed. He played here until his death. He died at the age of 72 in lung cancer.

He was only half a day before his death in the Hungarian Theater; Mihály Vörösmarty played the role of Scientist in Csongor and Tünde. That night he was struggling with breathlessness, apparently not well, barely able to go on stage, led by András Kozák with his hands on the stage, but he did his best to stretch all his strength. After the performance, he could hardly leave the stage until he went to the dressing room. A few hours later, death was at home. A good friend, Gábor Agárdy said:“… We dressed in a dressing room for thirty-seven years. I lost my brother, my friend. I can't figure it out. This is shocking. This is not true. We would have gone to the Balkan Glee, where we play together. And so suddenly… In the morning, they called from the theater that they didn't feel good, and they had canceled the performance of the weekend's Treasure and Love. But he hid everything, even who his doctor was ... It also hurt him to take his name out of the National Theater. He didn't show, he didn't talk about it because he said he wasn't worth it. I can't imagine what will happen if I go to the dressing room, and I will see the orphan's place there. ”

"... my life is the theater. And my creed; I believe in theater, art, emotion and human sense. I think the theater of emotions is really modern. However, the dialectics of all things are that the ways of raising the emotion are paved with cubes of intellectual action. For the first time, I myself am swimming in my roles as a spectator, ie a reader. Allow me to influence the writer's thoughts. I want to know if I love or hate what the writer has dreamed of. Don't be misunderstood, not my role, but the shape the writer wrote. I want to recall this first impression in the viewer. That's how I build, I build the figure from small stones to large bases, and later with smaller cubes. I carve and grind it until it comes together in a single shape. When I build it so consciously, I'll shoot it all down, as if I were the viewer. I experience the almost impossible, my own vision. The only way to do this is to know the raw material I work with. And the raw material is me. My body and the inside, called spirit. You need to know the virtues, but more importantly about disability. My strictest critic is me, because I really know how much I don't know. ... I believe that theater will help people make their lives better and better. I became an actor because I felt like I had to say. " My strictest critic is me, because I really know how much I don't know. ... I believe that theater will help people make their lives better and better. I became an actor because I felt like I had to say. " My strictest critic is me, because I really know how much I don't know. ... I believe that theater will help people make their lives better and better. I became an actor because I felt like I had to say. " (Film Theater Music - 1961, number 25)