The 1947 production of The Tragedy of Man was taken off repertoire in 1948, and the Budapest National Theatre was only allowed to stage the Madách play seven years later, on the 7^th of January, 1955. The grandiose and legendary performance was co-directed by the three most respected directors of the era (Endre Gellért, Tamás Major, Endre Márton), the audience at the time could see star actors in two parallel casts – in front of a set designed before the war. This paper seeks to highlight the specific on-stage expressions of the sovietisation of theatre, through analysing the performance.