DIVADLO A TEATRALITA V KONTEXTE (SLOVENSKÉHO) VIZUÁLNEHO UMENIA
Theatre and theatricality in the context of (Slovak) visual art
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There has been an overlap between theatre and film since the beginning of cinematography; first film performances were held in theatre buildings and first film theoreticians sought similarities and particularities of film as a new technical or artistic medium in relation to theatre and other art disciplines. Probably the first film made for the purpose of a theatre performance was a short avant-garde film Entr´Acte (1924), screened between acts of a Dadaist ballet. Experimentation with theatre space has developed from kinetic-lighting effects through simultaneous projection screens of the magic lantern to Woody Vasulka’s Theater of Hybrid Automata (1990). If we think of theatre as an intermedia space occupied by film (videos, new media) and modern technologies, the same can be said about film: theatre and theatre aesthetics may serve as a referential framework for film, video art and new media. In the history of cinematography there are a number of directors who drew inspiration from theatre tradition (Ingmar Bergman, Peter Greenaway, Jan Švankmajer and others). The specifics of theatre art or theatre space also appear, to a different extent and in different forms, in Slovak visual arts, for example, in the work of Anna Daučíková, Mira Gáberová, András Cséfalvay and Zuzana Žabková.
208 - 220
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