He was one of the most prominent Hungarian actors from Transylvanian of the second half of the 20th century. After 1990, he was one of the founders of the revival of Hungarian-language actor training in Cluj, and for many years he taught at the Drama Department of Babeș-Bolyai University. His memorable performances include a whole series of great roles pertaining to the universal dramatic literature. He is credited, for example, with the first Romanian premiere of John Osborne's Look Back in Anger (portraying Jimmy Porter). His outstanding performances can be seen in both Romanian and Hungarian films, including the two-part epic film Forest of the Hanged directed by Liviu Ciulei, which proved to be one of the best films at the 1965 Cannes Film Festival. Starting with 2005 he gradually retired and has not performed at all since 2008.

His funeral will be arranged at a later date.

May he rest in peace!

He was born in Odorheiu Secuiesc on August 25, 1930. He received his professional education in Cluj between 1949 and 1953, at the István Szentgyörgyi Institute of Drama. He was a founding member and leader of the Hungarian company of the Baia Mare State Theatre, and after the company moved to Satu Mare, he was a member of the Hungarian State Theatre of Satu Mare (later the Northern Theatre), and was its director from 1960 to 1969. Since 1977, he has been a member of the Hungarian Theatre of Cluj and later became its honorific member.  permanent member. Later he was also made an honorific member of the Northern Theatre of Satu Mare's Harag György Company.

"The light rises, covers the stage, illuminates the actor appearing on the borderline of space and time, we see the always bare face, and then, always unexpectedly, the light goes down, fades, disappears, but is not destroyed, we think of it as ever-returning, happily dreading it, with decided anticipation.

As with the light, so with the actor.

"The light rises, covers the stage, illuminates the actor appearing on the borderline of space and time, we see the always bare face, and then, always unexpectedly, the light goes down, fades, disappears, but is not destroyed, we think of it as ever-returning, happily dreading it, with decided anticipation.
As with the light, so with the actor.
Ever-returning, a true witness, who, we do not know how, was present at the birth of language, who, with the rhythm of his breath, tells us the news, the birth, the coming true, the speaking and being made to speak at the beginning of time. Not expressing himself, although he is fully there, he disappears in his appearance, he is revealed in his disappearance. He acts, his immobility is therefore heightened, and his movement is the only hope for the collective and public confession of time. To be made of light, I did not know it was so, the actor's face, his whole body is made of light, of the ever-present, uncreating luminosity that translates the impersonal into the personal and never backwards, the personal into the impersonal. When he rises, as it were, out of the darkness, we hear the voice, first and only. On Maundy Thursday, every word, every sentence means something else, theatre is the most Easterly of all the arts."

(András Visky - Two Fausts)