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1
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A COB OF DRAMATIC CLASSICS

100%
Cavojsky L.
Slovenské divadlo (Slovak Theatre)
|
2007
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vol. 55
|
issue 2
123-132
EN
A theatrical historian Ladislav Cavojsky on the occasion of the national Slovak festival of theatrical staging by Slovak classic and contemporary dramatists in Palarik's Rakova wrote his study on one of the founders of the modern Slovak drama Jan Palarik, a native of the community Rakova. He is approaching his life fortune (as a catholic preacher with a strong nationhood understanding, he was accused of 'Pan - Slavism' and moved to a German vicarage in Hungarian Pest) and above all, he is dealing with his artistic creation for theatre. He is analyzing the position of his three comedies 'Drotar', 'Inkognito', and 'Zmierenie, or Dobrodruzstvo pri obzinkoch' (Tinker, Incognito, and Reconciliation or Adventure in Harvest- Home) and one historical drama 'Dmitri Samozvanets' (Dmitri the Self- Appointed) in the history of the Slovak theatre. He is reminding of the fact that a preacher and dramatist is also a composer, he traced a record on presentation of his 'Smutocny spev' (Mourning Voice) to part with his friend, a chairman of 'Matica slovenska', a bishop Stefan Moyses. He is observing that even nowadays the creation of Palarik serves an inspiration to theatrical artists and becomes a basis for origination of works of art sought by the public.
2
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A MUSICAL BEDNARIK

100%
Cavojsky L.
Slovenské divadlo (Slovak Theatre)
|
2005
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vol. 53
|
issue 1-2
3-21
EN
Originally actor and drama director Jozef Bednárik (1947), has been lately keenly involved in music theatre projects. Musicals follow his opera productions and currently, he cooperates with the New Stage Theatre in Bratislava, A. Bagar Theatre in Nitra and with several musical theatres in Prague. His creative endeavours result in a modern synthetic format of music theatre, collages of music, stage design and acting art and on the stage, he does not hesitate to apply the principle of film montage. His music theatre aspires to be current, with the striking power of television, the dynamism of videoclips, the glamour and attractiveness of fashion and rock and the intriguing nature of good films. Kitsch in his production has a concrete and justifiable purpose. However, live music is not a component part of the majority of his musicals.
3
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THE COMEBACKS OF ORPHEUS TO THE UNDERWORLD, OR, THE RISES AND FALLS OF THE MUSIC THEATRE

100%
Cavojsky L.
Slovenské divadlo (Slovak Theatre)
|
2008
|
vol. 56
|
issue 3
338-340
EN
In his commentary to the trends in the Slovak music theatre in recent years the author draws attention to the emergence of operetta which stood at the very beginning of the musical productions. Film and the interest of drama directors in music theatre have largely contributed to the theatricalisation of what used to be exclusively singing productions and today, we are the witnesses of music theatre without live orchestra.
4
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HASPRA'S MORNING, NOON AND EVENING

100%
Cavojsky L.
Slovenské divadlo (Slovak Theatre)
|
2006
|
vol. 54
|
issue 1
94-98
EN
A generation yokefellow of a director Pavol Haspra, a theatrical critic and historian Ladislav Cavojsky, has introduced the director by his collection of the analytical and the critical texts. A view on Pavol Haspra's home file of a director of the Slovak National Theatre drama, in a bow from an extraordinary successful Radickov's play 'Pokus o lietanie' (An Attempt to Fly), via a classical Vladimir Hurban's play 'Zamka skripi' (The Screeching Lock), O'Neill's stage 'Ladar prichadza' (The Iceman is Coming), a new original staging of Michal Kocan Play-back, up to Kovacevic's 'Zberne stredisko' (The Gathering Place) enables those interested to follow not just complexity of a creative fight of a director, but at the same time to perceive the conditions of a stagings' origination.
5
Content available remote

A MUSICAL AND THEATRICAL NOTEBOOK OF A TRNAVIAN

100%
Cavojsky L.
Slovenské divadlo (Slovak Theatre)
|
2008
|
vol. 56
|
issue 2
142-181
EN
The author continues in examining theatrical (and this time simultaneously also musical) traditions in Trnava. The Jesuit University had its residence here for almost a half century (1635-1677). Roman Catholic Church had during the Turkish occupation of a big part of the Ugrian kingdom its supreme authority, the temporary residence of Esztergrom archbishopric in this city (1543-1820). The centre of religion and science was also considered to be partially a cradle of art. Scholarship was in Trnava apart from university and Royal Academy (1777-1786) represented also by the 'Slovak Educated Brotherhood', or by the 'Brotherhood of literary art' (1792-beginning of 19th century) - and art which was meant mostly as cultivating music in monasteries of all kind and in schools of all kind - from municipal schools to university. There was a seed but also a vast focus of Jesuit baroque theatrical art in the Ugrian kingdom. Many houses of God were found in the city, but among them was also the first temple of Thalia in the Ugrian kingdom, a theatre hall in the Seminary of the Holy Virgin (1692). A municipal theatre was a gift which the inhabitants of Trnava provided to themselves among the first citizens of the Ugrian kingdom (1831). In the same period as a result of the initiative of a mayor and governor of the vicarage, the Musical fellowship was founded (1833). It has been operational in various cities until now. A modern musical body never existed in the city, but a professional theatre did nested here (1960). Always changing times have affected it in different ways, it was cancelled, then reopened, its name was changed, but theater and also musical art in this oldest preserved building has always been very much alive.
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