Péter Huszti’s earliest encounters with the theatre emerged from the imaginative world of childhood. His “first steps” on stage unfolded within the walls of their home-theatre, among the great figures of literature and the heroes of his own invented tales. In their flat on Trombitás Street, Budapest, an out-of-use wardrobe served as a makeshift theatre building for the children, then five or six years old: “Three or four tiny performers could fit inside the wardrobe. Opposite them, in the kitchen, a small but loyal audience of grandmothers occupied the kitchen chair, the stool, and sometimes even the lid of the dustbin. […] We created a peculiar kind of theatre, concocting rather absurd stories. The heroes of my tales appeared in it – the Shepherd with the Starry Eyes, the Little Prince, Eeyore and Piglet, Zebulon and Master Bear, John the Valiant and the King of France.” [1]

In his third year of secondary school, he played the role of Bánk bán in the school production. The Nemzeti Színház (National Theatre of Hungary) lent the sets and costumes for the performance, and the students – including Huszti – collected them in person. It was at this point that the process began which later solidified into a firm decision: after completing his school-leaving examination, he submitted his application to the Színház- és Filmművészeti Főiskola (Academy of Drama and Film, today University of Theatre and Film Arts in Budapest). Initially, he intended to pursue directing. However, at the Rákóczi Secondary School, where he completed his secondary studies, the school drama group staged a one-act play at a competition; among the jury members was Zoltán Várkonyi [Hungarian actor, director and influential theatre pedagogue]. According to Huszti’s recollection, Várkonyi had only a brief time to spend at the event, yet managed to see Huszti’s scene. Later, in front of the building on Vas Street, at the moment of submitting his application, chance arranged for their paths to cross again. In his book he wrote of this encounter as follows:

“There I was, in front of the Ódry [the Ódry Stage, the main training theatre of the Academy], awkwardly trying to step aside for him, shifting about in embarrassment – unfortunately always precisely into the spot where he was about to charge through the glass door. I nearly burst out laughing at the thought of the two of us clumsily dancing about each other on Vas Street, when he suddenly fixed me with a searching glance:

‘Where have I seen you before?’ he asked.

‘Perhaps at the Rákóczi Secondary School,’ I replied.

‘Rákóczi? Yes. What are you doing here?’

‘I wish to apply for the directing course.’

‘Directing? How on earth would you know what a director is? Take your papers upstairs and try for the acting course.’

So I took them up. I tried. I pushed my way through the entrance exams and became an acting student in Várkonyi’s class.” [2]

Huszti’s relationship with Zoltán Várkonyi shaped the whole of his career – not only as a mentor. Várkonyi later offered him a contract at the Vígszínház (Comedy Theatre, Budapest), cast him in several of his films, and invited him to join the Academy of Theatre and Film Arts, Budapest as an assistant lecturer. During his studies, he was also taught by Ida Versényi [Hungarian actress and teacher], Ottó Ádám [opera director], András Békés [opera and theatre director], Zsolt Durkó [composer], József Gáti [actor and acting teacher], Géza Pártos [director], and László Vámos [director].

His classmates included Virág Dőry, Nóra Káldi, Eszter Szakács, Márta Vajda, Ági Voith, Árpád Csernák, István Iglódi, Antal Konrád, István Kovács, Lajos Kránitz, László Tahi Tóth, and László Ujréti. [3]

Madách Theatre

After graduating from the Academy in 1966, Péter Huszti joined the Madách Theatre, Budapest. The colleagues he encountered there exerted a profound influence on his career and artistic creed. The experienced and acclaimed actors he met at the theatre not only stood before the young, newly graduated Huszti as professional exemplars but also welcomed him warmly and supported him at the beginning of his path. [4] Many of these relationships developed into deep lifelong friendships. He shared the stage with some of the greatest figures of the era: Edit Domján, Irén Psota, Klári Tolnay, Ferenc Bessenyei, Kamill Feleki, Miklós Gábor, László Márkus, László Mensáros, and Sándor Pécsi.

Perhaps the most important piece of guidance he ever received came from Sándor Pécsi when they appeared together in Maxim Gorky’s The Lower Depths at the Madách Theatre (premiere: 13 December 1968; dir. Ottó Ádám). Pécsi played Luka, the kindly wanderer who helps everyone; Péter Huszti was his foil, Vaska Pepel, the thief who seeks Luka’s assistance. In the play, Pepel asks Luka whether God exists. The scene that follows remains vividly etched in Huszti’s memory: he recalls watching Pécsi’s face and expression at close range as, after a long silence, he slowly replied, “If you believe in Him, He exists. If you do not, He does not… What you believe in, exists.” This moment became an enduring moral compass for Huszti. Throughout his career, he accepted only those roles he could serve with unconditional conviction. [5]

He maintains that belief is a prerequisite for the creation of artistic work at a high level; whatever task he undertakes – whether teaching, directing, or acting – he can only fulfil it with this inner certainty. He believes in words, in his vocation, in his fellow actors, and he believes in himself and his talent. And he holds that, when faith is joined by the appropriate sense of responsibility, their combined force permeates the performance – and both audience and professional community will recognise it. This union of faith and conscientiousness characterises the entire career of Péter Huszti, who, drawing on his talent from an exceptionally young age, has portrayed an unusually large number of substantial, weighty dramatic roles, and continues to do so to this day.

Among Péter Huszti’s major roles, those associated with one of the indisputable cornerstones of his career – William Shakespeare – stand out most prominently. At his induction speech delivered at the Hungarian Academy of Arts on 11 April 2014 – he had been a Full Member of the Academy’s Section of Theatre Arts since 2012 – he spoke about his Shakespearean roles and about the playwright’s universal insight into human existence and emotion. He opened his address with the following words: “A playwright who knew everything about the world – about love, friendship, hatred, jealousy, desires, dreams, politics and power. About youth and old age, about boys, girls, men, women… about us. A poet who, according to Sándor Petőfi [Hungarian national poet], is ‘half of Creation’. Whoever reflects on Shakespeare reflects on life; and whoever reflects on life reflects on oneself.” [6]

When asked in an interview whether he considered himself an experimental artist, he replied that although he had indeed portrayed a wide range of characters over the years, the emphasis for him had never been on experimentation but on the development of the role and of the human soul embodying it. What interests him in every character portrayal are the human qualities – those present in the text and those the actor contributes from his own being. From this arises the fact that every role, like every human being, changes over time; yet it is precisely through this process of change that he is able to bring real human figures to life on stage. Speaking of this interplay, he observes: “It was not only I who stepped into the skins of my roles, but my roles also stepped into my skin.” [7] And as he has said of Shakespeare, he is the writer who possesses this knowledge of the “living” human being, who knows everything about life – and thus his characters are living figures.

Huszti Péter’s earliest Shakespearean roles were performed while he was still a university student or a freshly graduated actor: the Third Lord in The Winter’s Tale (Madách Theatre, 17 December 1965, dir. László Vámos); Hector, son of Priam, in Troilus and Cressida (Körszínház [Round Theatre], 9 July 1966, dir. Károly Kazimir); and Demetrius in A Midsummer Night’s Dream (Madách Theatre, 17 September 1966, dir. Ottó Ádám). Although his work in these productions was also positively received, it was the role of Iago in Othello – performed alongside Ferenc Bessenyei – that brought him truly significant acclaim. The production, directed by Ottó Ádám, premiered on 28 September 1973 at the Madách Theatre. Huszti was only twenty-nine at the time; the following year, 1974, he received the Jászai Award [a major Hungarian state award for theatrical achievement]. The performance proved a great success, not least because Bessenyei, who had already portrayed the title role earlier in his career, succeeded in renewing his interpretation rather than repeating himself. This was due in part to Ádám’s direction, which avoided centring the drama on a single character and instead emphasised Iago’s perspective, presenting the play as a dialogue between the two men. In this framework, Huszti became a fitting and equal partner to Bessenyei.

Péter Molnár Gál wrote the following about Huszti’s performance: “The most striking sensation of the production is Péter Huszti’s portrayal of Iago. […] Huszti does not weave his web through primordial malevolence but prepares his traps as a cheerful, mischievous fellow. His jubilations, his stamping wildness, his colt-like restlessness and overflowing vitality bend our sympathies towards him. […] He is nearly bursting with energy. He pours out ideas. […] Later, when the machinery he himself has designed begins to move, when the intrigue starts to take effect and the game turns serious, he becomes frightened by the consequences he has summoned. Awestruck and practically helpless, he is swept along by the plot.” [8]

For his own part, Péter Huszti sought to understand Iago through the character’s motivations: “I looked for his motives. For everyone can find their own Iago – the Machiavellian schemer, the motiveless villain, the terrifying careerist, the brutal murderer.” [9] Ultimately, just as Ottó Ádám had built the production upon the relationship between the two men, Huszti too found the driving force of the character in the long-standing friendship between Iago and Othello: “And then I said aloud what I had only skirted around until then. Yes! This is where we must begin! With Othello and Iago’s passionate friendship! Let us think about this! About victories won together, adventures shared, nights spent talking in tents, friendship flaunted to one another, proud competence tested in common.” [10] This is the bond that falters with the arrival of a “third party”; from this moment, Iago’s jealousy propels the drama forward.

Tamás Koltai, in his review, likewise emphasised the dynamics of their relationship – the way in which Iago seems to “struggle” for Othello’s attention, and how the unfolding of events is shaped by his emotional responses. He praised in particular the precision of Huszti’s gestures, which often condensed more meaning than entire lines of dialogue. “Huszti has a superb gesture. When Othello growls at him, he instinctively raises his hands to protect his head. At one point he even does this when Othello is still quite far away, and partly turned away from him. Iago is terribly afraid of Othello. Physically afraid. Afraid that he might strike or kill him.” [11]

Péter Huszti’s next major Shakespearean role was Hamlet, Prince of Denmark, once again in a production directed by Ottó Ádám at the Madách Theatre (premiere: 30 September 1977). The reception of the production was mixed: although the acting was widely praised, the directorial concept became a source of debate. This Hamlet appeared as a dynamic [12], contemporary young man – an interpretation which, compared with the traditionally contemplative, melancholy Hamlet familiar from earlier performance traditions, could easily be perceived as superficial. Yet this divergence did not produce an outright rejection among critics. Géza Fodor, for example, wrote the following: “… the role of Hamlet demands a radiant stage personality. Radiant – that is, one who affects the audience not so much through the depth or complexity of the interpretation, but through the active presence of his direct being, his harmonious external and internal disposition; one who does not need to convince himself or the audience of Hamlet, for his truthfulness and authenticity are not a conclusion but a starting point. Péter Huszti is such an actor.” [13]

In shaping his Hamlet, Huszti began from the character’s experience of loss; at the same time, he reflected on the nature of the role itself as one of the most defining in the dramatic canon, a role that demands genuine preparedness. “Who are you, who will play Hamlet? Are you ready for the task? Do you have enough talent, strength, courage for Hamlet’s story? The stakes are high. You start from nothing. The prince has lost everything.” [14] Yet the opposite idea is also present in his interpretation – the thought that Hamlet contains every possible emotion, and that in truth every person contains everything that Hamlet contains. Writing of this universal Hamlet-condition, he observes: “Everyone is Hamlet. […] Who could claim as their own the lamentation over the meaninglessness of the world, the disappointment in friends, in love, the struggle with the thought of death, idealism, rebellion, the longing for moral order, for the triumph of truth?” [15]

Péter Huszti’s subsequent Shakespeare role – King Lear – was profoundly shaped by the celebrated actor Laurence Olivier’s interpretation. This influence did not take the form of imitation, but rather a kind of parallel line of thought. Huszti often read Olivier’s writings, discovering new shades and nuances in the character each time. In the production directed by Imre Kerényi and premiered on 8 November 1991 at the Madách Theatre, he located the motivation behind Lear’s destructive power in a state of existential emptiness. “I felt that Lear lacked blood. Life – the sap of life. Like a boulder, he rolls down the mountainside, crushing everything in his path without aim, without reason, without pleasure. Houses, trees, innocent people, animals – until he finally shatters into pieces with a terrible crash in the ravine. […] For him, the only solution is annihilation. At last I could cling to this terrible truth.” [16]

Throughout his career, Péter Huszti portrayed numerous other Shakespearean roles: Count Boyet in Love’s Labour’s Lost (Madách Theatre, 11 February 1977, dir. Tamás Szirtes); Petruchio in The Taming of the Shrew (Madách Theatre, 13 February 1982, dir. Tamás Szirtes); Sir Toby Belch in Twelfth Night (Madách Theatre, 30 March 1985, dir. Tamás Szirtes); and Polonius in Hamlet (Madách Theatre Studio, 29 October 2005, dir. Imre Kerényi).

Naturally, Huszti’s career cannot be reduced to his Shakespeare portrayals, for he has brought to life a remarkable number of major dramatic characters. Outstanding among these are the roles he played in Ottó Ádám’s productions of Chekhov: the young Treplev in The Seagull (Madách Theatre, 28 January 1972); Vershinin in Three Sisters (Madách Theatre, 7 December 1979); and Doctor Astrov in Uncle Vanya (Madách Chamber Theatre, 5 November 1982).

He also played four different roles in Az ember tragédiája (The Tragedy of Man [the monumental dramatic poem by Imre Madách]). As a student, he appeared in smaller parts – Catullus, Student, First Pupil – at the Szegedi Szabadtéri Játékok (Szeged Open-Air Festival), in the Dóm Square production (premiere: 31 July 1965, dir. László Vámos). A few years later, in the 1969 television adaptation, he played Ádám; he then portrayed Lucifer on stage (Madách Theatre, 30 January 1981, dir. György Lengyel); and finally, at the ceremonial reopening of the renovated Madách Theatre in 1999, he appeared in the role of the Lord (23 October 1999, dir. Imre Kerényi).

Critics unanimously praised his performance as Zsigmond in Gyula Háy’s Isten, császár, paraszt (lit. God, Emperor, Peasant) in the stage production at the Madách Theatre (28 January 1983, dir. Ottó Ádám). [17] He also delivered a major performance as Peer Gynt in Henrik Ibsen’s Peer Gynt (Madách Theatre, 29 October 1971, dir. György Lengyel), which critics described as reaching the level of the great Hungarian predecessors of the role. [18]

Huszti has portrayed several characters from the works of Endre Illés: Ádám in Névtelen levelek (lit. Unsigned Letters, Madách Theatre, 18 January 1974, dir. György Lengyel); Ferdinand in Spanyol Izabella (lit. Isabella of Spain, Madách Theatre, 20 February 1976, dir. György Lengyel); Beniczky Ádám in Törtetők (lit. The Careerists, Madách Chamber Theatre, 15 February 1969, dir. György Lengyel); and Ádám in Festett egek (lit. Painted Skies, Madách Theatre, 7 December 1969, dir. György Lengyel).

He also played leading roles in the popular plays of Ferenc Molnár [major Hungarian dramatist of the early 20th century]. He portrayed the title role in Az ördög (The Devil, Madách Theatre, 17 April 1987, dir. György Lengyel); Sipos in Az üvegcipő (lit. The Glass Slipper, Madách Theatre, 27 April 1990, dir. Tamás Szirtes); and the Actor engaged in a double game in A testőr (The Guardsman), opposite Ildikó Piros (who is also Huszti’s partner in life) as the Actress.[19] This production premiered at the Madách Theatre on 2 October 1992, directed by László Vámos.

Directing and Teaching

In time, Péter Huszti also made his debut as a director. He began by directing productions on the Ódry Stage, where he taught, and later became the artistic leader of the Madách Színház Kamaraszínház (Studio Stage of the Madách Theatre) at the invitation of the new director, Imre Kerényi. He held this post between 1989 and 1994, during which period he directed several productions. The concept for the programme in his first season envisaged a repertoire composed of contemporary Hungarian plays; however, in response to audience demand, a more varied programme was later established, including lighter works. Huszti belongs to the generation of actors who built their directorial careers primarily on their own stage experience and personal initiative.

In his early productions he cast the colleagues already mentioned earlier in this study. In Neil Simon’s The Last of the Red Hot Lovers, the leading roles were played by two legendary actors, Ferenc Bessenyei and Éva Ruttkai. The premiere took place on 10 February 1984 at the Pesti Vigadó. Another production featuring distinguished performances was Jerome Kilty’s Dear Liar, premiered on 2 November 1984 at the Madách Chamber Theatre, with Klári Tolnay and László Mensáros in the principal roles. On 25 April 1986, he premiered Harold and Maude at the Madách Theatre. The play by Colin Higgins was translated by Klári Tolnay, who also performed one of the title roles, and the song lyrics were written by Gábor Görgey, whose play Komámasszony, hol a stukker? (lit. Where’s the Gun, Madam?) Huszti staged multiple times in Hungary and abroad with his acting students.

Yet for all its richness and diversity, his career can still be viewed as a coherent whole by returning to the Shakespearean dramas that form its spine. Huszti believes that Shakespeare not only reveals everything about universal human emotions, character types and the intricate web of their relationships, but also sheds light on the role of the theatre in human life. For him, the playwright’s multifaceted oeuvre offers proof that the theatre exists for its audience – to them, with them, for them, and often in their stead. For Huszti too, the driving force of the theatre is the relationship he builds with his audience, the experience of receiving a response to the work “offered” across the footlights. If this impact is achieved, the actor has met his aim. As he puts it: “I was happiest in my Shakespeare roles when I came truly close to the audience – physically and spiritually alike. When the hesitant conversations after the performances revealed that the stories of Demetrius, Hector, Petruchio, Hamlet, Iago, Don Armado, Lear, Sir Toby Belch were more than entertaining tales for them – that they had understood something about the world and about life, and about themselves.” [20]

At the invitation of Zoltán Várkonyi, Péter Huszti began teaching in January 1975 as an assistant lecturer in Ottó Ádám’s acting class at the Academy of Drama and Film, Budapest. His first subject was the oeuvre of Shakespeare. From 1982 he served as a university professor, teaching across several year-groups; from 1988 to 2010 he was Dean of the Theatre Department, and he currently serves as Chair of the Doctoral Council. Although many wished to see him appointed Director of the Madách Theatre upon Ottó Ádám’s departure, and later he was invited to take over the directorship of the National Theatre of Hungary, it was ultimately his work as a teacher – alongside his artistic activity – that brought him a sense of professional fulfilment. He later led the Academy as Rector for two consecutive terms between 1994 and 2001, during which the institution was formally granted university status; from 1 January 2000 its official name became University of Theatre and Film Arts.

During his tenure he implemented several significant reforms. He expanded the traditional three-round entrance examination by inserting a week-long preparatory period before the final round, which enabled prospective class heads and applicants who had passed the second round to work together and become better acquainted. This intense and concentrated collaboration allowed for a more accurate assessment of candidates’ abilities and aptitudes, resulting in more thoroughly grounded admission decisions. He also established a biennial cinematography workshop; under the leadership of Sándor Simó [Hungarian film director and leading pedagogue], major reforms were introduced in film education to integrate emerging digital technologies. It was during this period, in 1995, that the first puppet-acting class was launched, and from 1997 the Theatre Doctor of Liberal Arts (DLA) programme, and from 1999 the Film DLA programme, also began operating. [21]

Huszti placed considerable emphasis on strengthening the international dimension of training. He consistently encouraged his students to study languages and to form professional links with foreign institutions and theatre workshops, thereby deepening the knowledge and openness he regarded as essential to their education. His guiding principle was that theatre can serve as a bridge between peoples, cultures and individuals. [22] To this end, he organised numerous festivals – Madách: The Tragedy of Man (1992), The Theatre of Ferenc Molnár (1994), Shakespeare: The International Language of Artistic Training (1996), A Bridge to Collaborative Theatre-Making (1998) – as well as workshops involving students from various countries. During this period the institution established partnerships with acting departments of universities in Virginia, Tennessee, Texas and Minnesota, as well as with drama schools in several European cities, including Bucharest, Cardiff, Helsinki, Kyiv, Cluj-Napoca, Leipzig, London, Târgu Mureș, Moscow, Paris, Bratislava and Novi Sad.

As a teacher, he himself held several courses at foreign universities, where he introduced students to the traditions and contemporary tendencies of Hungarian theatre and drama; as a director, he created productions with them as well – a Shakespeare workshop at the University of Tennessee, Knoxville (1995); a workshop on contemporary Hungarian playwrights (1997) and a student production of Gábor Görgey’s Where’s the Gun, Madam? (1999) at the same institution; and in 2001 he mounted the same play with students at the University of Nevada, Las Vegas.

Writer

Péter Huszti has also been a prolific writer, publishing over the years his reviews, analyses of his roles and reflections on his career in leading cultural periodicals such as Film Színház Muzsika, Színház and Kritika. To date, he has published five volumes – Emlék-próba (lit. Memory Rehearsal) (1985), Királyok az alagútban (lit. Kings in the Tunnel) (1986), …sárból, napsugárból… Szerepek, játszótársak, történetek (lit. …from Mud, from Sunlight… Roles, Fellow Players, Stories) (2004), Kik vagytok, hé! (lit. Who Are You, Hey?) (2009), Srác a kakasülőn (lit. Boy in the Gallery) (2015). These works contain meditations on his roles and offer a retrospective view of a career spanning more than fifty years, as well as of the recent past of Hungarian theatre history. Yet they are far from dry documentation: they are works of genuine literary value. Analytical in character, they trace the evolving relationship between actor and role. At the same time, the professional sphere is never entirely separate from the private one; through his writing we gain insight into the doubts, questions and inner struggles of the private individual as well.

His prose is marked by a positive tone and, above all, by an affection for the profession and for his fellow artists – something he himself articulated in an interview upon the publication of …from Mud, from Sunlight…: “Despite a modesty very characteristic of me, in this book I reveal a great deal about myself and about others as well. I wrote things about Klári Tolnay that have never appeared before; the anecdotes about Sándor Pécsi and Manyi Kiss, too, have documentary value. I showed the manuscript to many people, who reassured me that even the humorous stories are not hurtful but express the personalities of those about whom they were written. What mattered was that I loved them and they loved me.” [23]

The list of Péter Huszti’s roles and theatre productions is long, and the work he has carried out as rector and teacher would, in itself, constitute a complete oeuvre. To present his career in its entirety and summarise it within a single work is perhaps impossible. Alongside the interviews with him and the critical writings about him, the volumes listed above may serve as the chronicle of this rich and continually expanding career. He himself wrote the following in 1986, on the occasion of his volume Kings in the Tunnel: “I have an old habit: before every premiere I walk on foot through the Tunnel from Buda to Pest, on my way to the theatre. I do not do it out of superstition. I simply enjoy walking, and it gives me time to collect my thoughts and prepare myself spiritually for the premiere. Over the past years I have played many kings – Macbeth, Louis II, Béla IV, Sigismund, Hamlet. In the essay that gives the volume its title, I played with the thought of what it would have been like if someone had photographed me on each of these occasions. Looking back after many years, seeing the photographs, would I be able to tell which king I was as I was walking through the Tunnel…?” [24]

[2016]

[1] Péter Huszti: Srác a kakasülőn (lit. Boy in the Gallery), Helikon Publishing House, Budapest, 2015, pp. 23–24.

[2] Péter Huszti: Srác a kakasülőn (lit. Boy in the Gallery), Helikon Publishing House, Budapest, 2015, p. 106.
[3] Source: Student Database of the University of Theatre and Film Arts, http://szfe.hu/hu/osztalyok/osztaly-adatlap/268

[4] Ötven éve a pályán. Huszti Péter színművész. Interjú. Készítette: Borbás Tamás, Hingyi Gábor, Király Ferenc, Tompos Vince (lit. Fifty Years on Stage: The Actor Péter Huszti. Interview by Tamás Borbás, Gábor Hingyi, Ferenc Király, Vince Tompos). Hungarian Academy of Arts, 2014, http://www.mma-tv.hu/mma-tv/-/video/1694445/huszti-peter-otven-eve-a-palyan (last accessed 15 November 2025)

[5] Ibid.

[6] Péter Huszti: William Shakespeare. „A teremtés fele” (lit. William Shakespeare: “Half of Creation”). Induction speech at the Hungarian Academy of Arts, 2014.

[7] Ötven éve a pályán. Huszti Péter színművész. Interjú. Készítette: Borbás Tamás, Hingyi Gábor, Király Ferenc, Tompos Vince (lit. Fifty Years on Stage: The Actor Péter Huszti. Interview by Tamás Borbás, Gábor Hingyi, Ferenc Király, Vince Tompos). Hungarian Academy of Arts, 2014, http://www.mma-tv.hu/mma-tv/-/video/1694445/huszti-peter-otven-eve-a-palyan (last accessed 15 November 2025)

[8] Péter Molnár Gál: Othello, Népszabadság, 3 October 1973.

[9] Péter Huszti: William Shakespeare. „A teremtés fele” (lit. William Shakespeare: “Half of Creation”). Induction speech at the Hungarian Academy of Arts, 2014.

[10] Péter Huszti: …sárból, napsugárból… – Szerepek, játszótársak, történetek (lit. …from Mud, from Sunlight… – Roles, Fellow Players, Stories), Európa Publishing House, Budapest, 2004, pp. 137–138.

[11] Tamás Koltai: Othello, avagy egy előadás élete (lit. Othello, or the Life of a Production), Színház, July 1974.

[12] “In the Madách production there is no question of melancholy, nor of the Prince of Grief. No doubt or hesitation. The cornerstone of the delaying-Hamlet theories, the soliloquy beginning ‘How all occasions do inform against me’, is not spoken at all. What we see is an active, bustling Hamlet.” Péter Molnár Gál: Hamlet, Népszabadság, 16 October 1977.

[13] Géza Fodor: A Hamlet a Madách Színházban (lit. Hamlet at the Madách Theatre), Színház, January 1978.

[14] Péter Huszti: William Shakespeare. „A teremtés fele” (lit. William Shakespeare: “Half of Creation”). Induction speech at the Hungarian Academy of Arts, 2014.

[15] Péter Huszti: …sárból, napsugárból… – Szerepek, játszótársak, történetek (lit. …from Mud, from Sunlight… – Roles, Fellow Players, Stories), Európa Publishing House, Budapest, 2004, p. 112.

[16] Péter Huszti: William Shakespeare. „A teremtés fele” (lit. William Shakespeare: “Half of Creation”). Induction speech at the Hungarian Academy of Arts, 2014.

[17] Judit Csáki: Háy Gyula drámája a Madách Színházban. Isten, császár, paraszt (lit. Gyula Háy’s Drama at the Madách Theatre: God, Emperor, Peasant), Népszava, 4 February 1983.

[18] Anna Földes: Peer Gynt szabadtéren (lit. Peer Gynt Outdoors), Nők Lapja, 23 August 1975.

[19] Péter Molnár Gál: A testőr (lit. The Guardsman), Népszabadság, 5 October 1992.

[20] Péter Huszti: William Shakespeare. „A teremtés fele” (lit. William Shakespeare: “Half of Creation”). Induction speech at the Hungarian Academy of Arts, 2014.

[21] István Nánay: Tanodától – egyetemig. Az intézményes magyar színház- és filmművészképzés száznegyven éve (lit. From School to University: 140 Years of Institutional Hungarian Theatre and Film Training), University of Theatre and Film Arts, Budapest, 2005. http://www.szfe.hu/hu/egyetem/az-egyetem-tortenete

[22] Ötven éve a pályán. Huszti Péter színművész. Interjú. Készítette: Borbás Tamás, Hingyi Gábor, Király Ferenc, Tompos Vince (lit. Fifty Years on Stage: The Actor Péter Huszti). Interview by Tamás Borbás, Gábor Hingyi, Ferenc Király, Vince Tompos. Hungarian Academy od Arts, 2014, http://www.mma-tv.hu/mma-tv/-/video/1694445/huszti-peter-otven-eve-a-palyan (last accessed 15 November 2025)

[23] Zsuzsa Mátraházi: A szerepek belém bújnak. Huszti Péter anekdotái sárból és aranyból (lit. Roles Crawl Inside Me: Péter Huszti’s Anecdotes of Mud and Gold), Könyvhét, 13 May 2004.

[24] György Kárpáti: Cyrano-lázban (lit. In a Cyrano Fever). Interview with Péter Huszti, Ország-Világ, n.d.

Péter Huszti

Selection of works