HEREC AKO OBJECT KRITIKY A PEDAGOGIKY
Selected contents from this journal
Actor as a subject of criticism and education
Languages of publication
After the end of World War II in Europe, a generation of young dramatists stepped forward in Slovakia who despite the very vague idea of theatre as the authorial art was sure to create the theatre that their older colleagues would not be able to dream about. Indeed, the absolute lack of the theatre training and education was obvious. But what they knew was that they need to play with passion and according to Stanislavski, with the soul in the hand. Together with the whole post-realistic world of theatre they enthusiastically accepted his deconstruction of orchestra to individual instruments. Our post-war theatres deployed Stanislavski system, which was the official system of theatre work in the Soviet Union and satellite socialist countries. As early as in the twenties of the last century, the Russian avant-garde was cut off within the Soviet Union and the same situation occurred after the „victory of the working people“ in 1948 in our country. Stanislavski system, as it was officially called in the Soviet Union as well as in our country, suddenly became the only possible method and form of theatre work. In Slovakia, only Budský and later his students Haspra, Pietor, Vajdička and Oľha knew how to confront this method.
305 – 309
Publication order reference