PAVOL HASPRA AND HIS THEATRE OF PASSIONS AND EMOTIONS
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A monothematic issue of the magazine the Slovak Theatre publishes the contributions which were presented at the 3rd Theatrological Conference in the cycle Today and Here held in Banská Bystrica on 9th December 2005. The conference was organized by the Cabinet of Theatre and Film of the Slovak Academy of Sciences, the Faculty of the History of Arts of the Academy of Arts, the Slovak Theatrological Society, the Association of the Slovak Theatrical Critics and Theoreticians and the Association of Philologists Self-Help with the contribution of the Minister of Culture of the Slovak Republic.The organizers formulated the topic: Pavol Haspra - Theatre of Passions and Emotions. Pavol Haspra, a theatre director, was for the period of four decades an integral part of the Slovak National Theatre drama and a significant personality of the Slovak theatrical history. The conference initiator, a theatrical critic and historian Andrej Matasik in the introductory study focuses on the characteristics of Pavol Haspra´s theatrical opinion. He observes that: It is known that by a stature, Haspra was quite short, but by his temperament and zest, and the ability to kindle others, by his eruptiveness and resourcefulness, he grew taller than his surroundings. Haspra - after acccessing to the Slovak National Theatre - became the director of mainly contemporary plays, and since he performed the substantial part of stagings in the sixties at Mala scena (The Small Stage) in Bratislava, in fact in the conditions of a chamber space where there is a close contact between an actor and a spectator, hence we can consider Haspra also the initiator and effecter of the cardinal transformation of the Slovak dramatic art in the sixties. The space of Mala scena (The Small Stage) was forcing him to ask for a maximum authenticity from the actor, since every single fraud could be easily detected by the spectator, and so deceiving by a magic of generous mis en scene, by a lofty and pathetic gesture, or a showy articulation of the text was beyond possibility. At the same time he was aware that these, very often seriously looking dramatic encounters of the antagonistic views, are just boring talks on positions, explanations of philosophical disputes, while for an eruptive explosion of an authentic emotion to happen, sometimes only a little mite is needed, other time just a neglected or tolerable impuls. This is why he was willing to painstakingly look for those naggings or ostensible reasons even where their occurence was just potential.
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