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PRÍPAD SVÄTÁ HELENA A OCHRANA MALOLETÝCH V MÉDIÁCH

100%
Mistrík M.
Slovenské divadlo (Slovak Theatre)
|
2016
|
vol. 64
|
issue 1
82 – 86
EN
Television and radio programs can endanger the healthy development of minor percipients. Therefore, several tools have been developed to prevent this. They are legislative, psychological and educative tools. However, according to an original research, the claim about the protection of minors is not quite true. On the island of Saint Helena in the south of the Atlantic television was not introduced until the 1990s. Prior to and after the introduction, an English research team did an in-depth research into the behaviour of minors on the island. This showed that watching television had not had a negative impact on them. However, this research is in contrast with the finding that there is an unacceptable practice of sexual harassment and abuse of young girls and women on the island. This study compares these two facts and raises a question whether youth-threatening television programs can endanger youth who already display an unsuitable or criminal behaviour, or whether the introduction of television cannot have an opposite effect and positively influence youth by bringing in advanced civilization values and models.
2
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FESTSPIELHAUS V HELLERAU

100%
Mistrík M.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
|
issue 4
370 – 384
EN
Teacher and musician Émile Jaques-Dalcroze was provided with ideal conditions for his work in Hellerau near Dresden in 1910. A Festspielhaus had been built for him in the garden city, especially thanks to the entrepreneur Wolf Dohrn. It followed his requirements and offered room not only for his school of rhythm, but also a big theatre. The conception of the building had also been influenced by Adolphe Appia and Alexander von Salzmann. Its modern architecture, authored by Heinrich Tessenow, was, in terms of its style, an early work of functionalism. The Festspielhaus became an international centre for the teaching of rhythm in 1910–1914. It was a source of inspiration, especially in dance, ballet, and pantomime, and significantly influenced the development of the 20th-century theatre.
3
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DVE ŠTÚDIE ADOLPHA APPIU RÉŽIA WAGNEROVSKEJ DRÁMY AKO ZREFORMOVAŤ NAŠU RÉŽIU

100%
Mistrík M.
Slovenské divadlo (Slovak Theatre)
|
2020
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vol. 68
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issue 4
397-426
EN
The publication of a Slovak translation (by Martin Brtko) of two studies by Adolphe Appia: La mise en scène du drame wagnérien [The Staging of the Wagnerian Drama, 1895] and Comment réformer notre mise en scène [How to Reform Our Theatre Directing, 1904] with an introduction by Miloš Mistrík. This edition of Slovak Theatre is part of a project in which Appia´s book L´Oeuvre d´art vivant [The Work of Living Art, 1921] has already been published, Bratislava: VEDA, 2020, and the Slovak translation of the book Die Musik und die Inszenierung [Music and Staging, 1899] is under preparation.
4
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EUROPE THEATRE PRIZE FOR THE FIFTEENTH TIME

100%
Mistrík M.
Slovenské divadlo (Slovak Theatre)
|
2016
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vol. 64
|
issue 3
310 – 315
EN
The first edition of Europe Theatre Prize took place in 1987. It is among the most reputable events in theatre at which prizes are awarded for a lifetime contribution to theatre. The prizes have been awarded to prominent theatre directors and actors, choreographers and dramatists. The prize is not awarded annually; up until 2016, there have been fifteen prize-giving ceremonies hosted by a number of European cities. Since 1990, in addition to the main prize, the Europe Prize New Theatrical Realities has been awarded to the younger generation (at the most recent 2016 edition, the word “new“ has been omitted). To date, the prize has been awarded thirteen times. The study presents a concise overview of the Europe theatre prize winners and the details of individual editions.
5
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PREDPOSLEDNÁ VEČERA. ANALÝZA INSCENÁCIE

100%
Mistrík M.
Slovenské divadlo (Slovak Theatre)
|
2023
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vol. 71
|
issue 1
42 – 63
EN
This study is an analysis of one of the most significant productions of Blahoslav Uhlár, staged in collaboration with the scenographer Miloš Karásek and the actors of the Theatre for Children and the Youth in Trnava on 30 June 1989. This was a ground-breaking production, the culmination of several years of Uhlár’s experimental practice, and it prefigured his poetics in the avant-garde STOKA theatre, established in 1991. In Penultimate Dinner, Uhlár and Karásek made full use of their poetics of decomposition. Significantly, it was a message of the creators about the contemporaneous situation just before the so-called Velvet Revolution, by which they held a critical mirror up to the decadence of the dying totalitarian regime in communist Czechoslovakia and to the people who participated in its existence either as opportunists or as representatives of its power.
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