A product of Hungary’s political ferment at the start of the twentieth century, Bela Bartok’s works combine determination to participate in Western art movements coupled with an enthusiasm for the folk traditions of a disappearing world. In this introduction to Bartok’s stage works, Julian Grant describes the score for Duke Bluebeard’s Castle, a symbolist version of the Bluebeard myth. Included in this volume are also his ballet scenarios and discussions of the choreographic potential and musical qualities of the scores. Ferenc Bonis indicates the appeal for Bartok of the natural world, against the cataclysm of the First World War. Together, these works give an insight into issues of sexuality, humanity and creativity.Contents: Works contained in this volume: Duke Bluebeard’s Castle, The Wooden Prince, The Miraculous Mandarin; Images the Self: ‘Duke Bluebeard’s Castle’, Paul Banks; Bartok and ‘World Music’, Simon Broughton; Annie Miller, Keith Bosley and Peter Sherwood; A Foot in Bluebeard’s Door, Julian Grant; Around the Bluebeard Myth, Mike Ashman; A kekszakallu herceg vara: Libretto by Bela Balazs; Duke Bluebeard’s Castle: English translation by John Lloyd Davies; ‘The Wooden Prince’: A Tale for Adults, Ferenc Bonis; A fabol faragott kiralyfi: Scenario by Bela Balazs; The Wooden Prince: English translation by lstvan Farkas; ‘The Miraculous Mandarin’: The Birth and Vicissitudes of a Masterpiece, Ferenc Bonis; A csodalatos mandarin: Scenario by Menyhert Lengyel; The Miraculous Mandarin: English Translation by lstvan Farkas