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Gábor Zsámbéki, (born 30 December 1943) is a Hungarian director and theatre manager. He was born in Pécs, Hungary. He worked as a director at several theatres both in the countryside and in Budapest and taught at the University of Theatre and Film Arts, but resigned in 2020.

Early Life and Education
He was born on December 30, 1943, under the name Gábor Zách into a family of actors. He began his career as a child actor, although he had no initial ambitions to become an actor. On his first attempt, he was admitted to the directing program at the University of Theatre and Film Arts, which he completed in 1968.

Career
In the same year, he started his career as a director at the Csiky Gergely Theatre in Kaposvár. He worked as the director of the theatre from 1975 to 1978. Then he became the chief director of the National Theatre until 1982. From 1982, he worked as the artistic director of the Katona József Theatre, along with Gábor Székely. From 1989 until 2011 he worked as head of the theatre and chief director. Starting in 1979, he taught at the University of Theatre and Film Arts and became a professor emeritus at the institution. In 1999, he earned a DLA degree. On August 1, 2020, he resigned immediately in protest of the university's restructuring. He was the president of the Union of the Theatres of Europe from 1998 to 2004.

His approach to works involves stripping away all conventions and developing new, modern interpretations. His stylistic range is incredibly broad, spanning from dynamic grotesque to post-naturalism, from in-depth character portrayal to masked masquerade theatre.

Influence of Psychological Realism
Some Hungarian directors, including Gábor Székely and Gábor Zsámbéki, embraced minute realism or psychological realism as a dominant movement in their Shakespearean productions. This approach involved portraying Shakespeare's characters as case studies from contemporary Hungarian society.

Gábor Székely's production of Timon of Athens was praised for its execution of minute realism. It effectively applied psychological realism to the Shakespearean material and was well-received. Gábor Zsámbéki's direction of The Winter’s Tale in this style received mixed reviews. He introduced darker tones in the final scenes of the romance, which left viewers with a bitter aftertaste. The realistic framework didn't resonate well with the play as a whole.

Gábor Zsámbéki's production sparked a debate in Hungarian theatre. Critics questioned the movement of minute realism, arguing that it deprived Shakespeare's plays of their various local hues. Some advocated for more experimental directorial styles, physical theatre, and gestic acting. Critics and theatre professionals urged a shift away from realist acting style in Hungarian theatre. They called for more avant-garde and experimental directions, expressing concerns about the limitations of realist acting in the Hungarian theatre world.

Both Gábor Székely and Gábor Zsámbéki played important roles in the development of Hungarian Shakespearean productions. They were influential figures and eventually became managing directors of the National Theatre, later establishing their own theatre, the Katona József Színház. The dominance of realism in Hungarian Shakespearean productions, as promoted by directors like Székely and Zsámbéki, had a long-lasting effect on the appearance of postmodern tendencies in Hungarian theatre, even after changes in the political regime.

Foundation of Katona József Theatre
The theatre gained prominence in 1982, existing semi-independently with state subsidies covering 60% of its expenses. It maintained artistic freedom while being under the influence of Socialist power structures. The founding directors, Gábor Székely, Gábor Zsámbéki, and Tamás Ascher, aimed to break away from traditional, actor-centric theatre paradigms and create a more innovative and non-traditional theatre experience. The theatre focused on classics like Chekhov and Shakespeare, alongside contemporary Hungarian and foreign plays, reinvigorating Hungarian theatre. In the 1980s, the Katona József Theatre gained international acclaim and toured across Europe. It became a founding member of the Union of the Theatres of Europe.

Shakespearean Productions at Katona József Theatre
Some of the productions at the theatre were known for their innovative and daring approaches, including cross-gender casting, unconventional performance spaces, and experimental techniques. Gábor Zsámbéki played a key role in directing Shakespearean productions and leading the theatre as its artistic director.

Katona József Theatre was significant in Hungary, a major artist's theatre that played a central role in shaping theatrical thinking in the country. It was also known for its contributions to educating future actors, directors, and dramaturgs. After 1989, the theatre's political role and approach to Shakespearean productions began to change. This shift was influenced by the emergence of other venues that experimented with newfound political and artistic freedom.

Zsámbéki's early Shakespearean productions were considered brave and experimental. They were characterised by unique approaches and a willingness to take artistic risks. The theatre’s Shakespearean productions blended political and aesthetic elements. The theatre’s approach transitioned from politicised productions to a more aesthetic approach in later years. The critical reception of these Shakespearean productions were mixed, some critics noted a change in the performances and a shift toward more aesthetic productions, while others longed for a return to more political theatre. Some Shakespearean productions by other directors than Zsámbéki were seen as braver and more willing to take risks, both in political and theatrical terms.

The theatre approached Shakespeare in an innovative and experimental way. Katona József Theatre and Gábor Zsámbéki's contributions had a lasting impact on the evolution of Shakespearean theatre in Hungary. Their willingness to experiment and challenge theatrical traditions played a pivotal role in shaping the theatre's legacy.

However, this did not always achieve the desired effect. Zsámbéki’s production of The Tempest was theatrically innovative and daring in terms of acting styles, but was not appreciated by the audience and the critics. Zsámbéki’s Macbeth in 2008 and All’s Well That Ends Well in 2015 were interesting performances, yet they suffered the same fate.

Hungarian University of Theatre and Film Arts (SzFE)
SzFE played a significant role in the training of future actors, directors, and dramaturgs. Shakespearean plays were essential in the education of theatre students. SzFE and Katona József Theatre had strong connections. Graduates often joined the Katona József Theatre, further impacting the theatre's direction. While SzFE was initially criticised for its conservative training methods, the 2010s saw the rise of innovative Shakespearean productions at SzFE, signalling a shift towards more experimental approaches in theatre education.

Awards

 * Jászai Mari-díj (1973) - a state award in Hungary for theatrical arts
 * Érdemes Művész (1981) - a state award in Hungary for distinguished artists
 * Kossuth-díj (1988) - state-sponsored award in Hungary named after Lajos Kossuth, Hungarian politician and revolutionist
 * BITEF Nagydíj (1989) - Belgrade International Theatre Festival’s award
 * Francia kritikusok díja a legjobb külföldi előadásnak (Übü király) (1990) – French critics’ award for best foreign performance for Ubu Roi
 * Legjobb külföldi előadás díja, Caracas (A Revizor) (1990) - an award for the best foreign performance in Caracas for The Government Inspector
 * Hevesi Sándor-díj (1999) - a Hungarian award for theatre artists who have contributed to the international promotion and recognition of Hungarian theatre
 * Színikritikusok díja (legjobb rendezés) (2001) - a Hungarian prize awarded by Hungarian theatre personalities for best direction for Tartuffe
 * Soros Alapítvány alkotói díja (2002) - an award of Open Society Foundations
 * Magyar Köztársasági Érdemrend Középkeresztje (2002) - Hungarian Order of Merit Commander’s Cross
 * Vastaps-díj (legjobb rendező) (2002) – An award given for the best director by the National Theatre of Marosvásárhely from the Tompa Miklós Company
 * Hazám-díj (2002) – a Hungarian award as recognition of creators of enduring values. The award was named after Attila József 's poem series titled “Hazám” translating to “my homeland”
 * Művészetek és az Irodalom Lovagja (francia kulturális miniszter kitüntetése) (2004) - Ordre des Arts et des Lettres (knighted by the French Minister of Culture)
 * Hedda Award (Heddaprisen) is the most prestigious Norwegian theatre award, presented for outstanding direction in theatre (2004).
 * Színházi Kritikusok Céhének életműdíja (2013) - a Hungarian prize awarded by Hungarian theatre personalities for one’s oeuvre
 * Vastaps Alapítvány Legjobb rendezés (Katona József Színház) (2013) - The Vastaps-díj given for the best production by Katona József Theatre.