Manyi Kiss (12 March 1911 – 24 March 1971) was a Hungarian actress.
Born in Magyarlona, she acted from 1926 in Cluj, Romania, from 1928 in Miskolc and then between 1929 and 1932 in Szeged, Hungary. From the beginning of her career she possessed a natural acting style, an excellent knowledge of dance and ability to sing comic roles. From 1932, for a while she performed with her Italian artist husband in circuses abroad. In 1934 she made her debut in Budapest but was not contracted to any theatre. She was acting at the Pódium Cabaret. In 1940, the Capital Operetta Theatre contracted her, but she also performed at the Hungarian Theatre, the Andrássy Avenue Theatre, the Erzsébetvárosi Theatre, the Márkus Park Theatre and the Vidám Theatre. She joined the Vígszínház in 1943, by which time she had become one of the Budapest's favourite performers.
After World War II she performed in numerous Budapest venues, but only contracted for individual roles out of necessity – as politically she become persona non grata under the communist regime – someone had seen her sing to soldiers at the front. In 1954 she worked with the Madách Theatre. In that decade she concentrated on dramatic roles, e.g., in Brecht's Mother Courage and Her Children. From then on, her ouvre expanded to include gotesque, tragi-comic and dramatic heroic roles with unfettered style and extraordinary range and accuracy. Her colleagues noted the brevity with which she was able to master a role in very little time at all. The Madách Theatre contract ended her career with some well-deserved honours from the state: Jászai Mari prizem (1954), Kossuth prize (1957) an outstanding award (1962) and an artistic excellence award (1964).
[ Merchant ]
If you intend to live again,
then open your eyes and don't pretend you're feeling there's nothing worth believing.
God, if you persist you'll die like this,
and wither in the midst of your first season,
cut down with no reason.
How can you be so near and not see everything?
If you intend to live again,
then take the outstreched hand of the one that needs you.
It's been so long, we've missed you.
Why do you intend to speed your end?
Lie in the dark and let your limbs grow weaker, sinking low then deeper.
How can you be so near and not see everything?
Feel what might be. See what I see.
Again and again and again and again say you don't.
You say you don't, but you will.
How can you be so near and not see?