In Csaba Székely’s drama collection The Candles of Truth, three texts are included, each dealing with a Hungarian historical event. All three approach their subjects from new, distanced and critical perspectives. This study examines the three texts through three different aspects: in the case of Michael the Brave, it focuses on textual manifestations of historical self-reflection; in Mary’s Country, on female figures often left out of historical metanarratives; and in The Candles of Truth, on the relationship between history and identity. The aim of the review is to shed light on the unique and much-needed questions posed by Székely’s texts within the context of contemporary Hungarian drama literature.