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The aim of my study is to investigate the 20th-century Hungarian comic operas using the term of middlebrow culture. More clearly my question is whereas the success of the genre is due to its generic origins, given the fact that it proceeds from the Hungarian folk play and operetta, additionally its local and cultural traditions. My research paper aims to investigate how those genres became part of the middlebrow culture and I also give an analysis of the opera titled Wedding at Carnival (1924), a play composed by Ede Poldini and written by Ernő Vajda. In the libretto and in the structure of that particular Hungarian comic opera, we could identify many folk plays’ and operettas’ patterns and genre traditions. Firstly, I focus on the term of middlebrow and the term of genre hybridisation, and the fading and merging generic border between Hungarian operetta, folk-play and comic opera. Secondly, I present some elements of this play such as the theme, the main characters, the structure and its function. Thirdly, I connect the results with the field of imagology. My hypothesis is that comic operas have met the expectations of the Hungarian middle class and I will also try to prove it by using the above-mentioned features.

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Emese Lengyel (Hungary) 10092
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