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THINKING ABOUT SLOVAK DRAMA AFTER YEAR 1900 IN PLACE OF TWO CONCEPTION

100%
Knopova E.
Slovenské divadlo (Slovak Theatre)
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2008
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vol. 56
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issue 4
381-392
EN
Slovak drama after year 1900, by many her factors, belongs to the stream of a new Europe drama or 'in-year-face' of drama. This new wave of writing is not identical with any previous new waves in dramatic writing. For that reason is not possible assess her from position previous periods. The affinity with European context of drama development in 90th years, we mostly see in enlargement of original dramatic work, in experiments, in using the same structural and expressional means. Then we see it in rude, vulgar language of drama and in a new form of the dialogues (short, almost movie dialogues), in her new cruel sensitization (full of violence, sex and obscenity), in political undercurrent and in new establish themes like for example - crisis of masculinity, corruption of the values, hebetation of feelings ( typical is absence ethical categories good - bad). Slovak drama after year 1900 is not always strong in plot and characters (characterization), but her strength is in urgency of language and in establishing of the relevant themes. Simile, like in other European countries, place for the production of such a drama became the small theatre places also in our country.
2
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TAJOVSKY'S WOMEN'S LAW AND HASPRA'S TAJOVSKY

100%
Knopova E.
Slovenské divadlo (Slovak Theatre)
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2005
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vol. 53
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issue 1-2
69-94
EN
The production of the recently deceased Slovak theatre and TV director Pavol Haspra is famous for containing a significant share of works of Slovak contemporary and classical drama.The authoress focuses on Haspra's productions of The Women's Law by Jozef Gregor Tajovský. She analyses three productions of the play - two TV productions from 1967 and 1987, and one drama production from 1996. Her analysis focuses especially on the interpretation differences of an identical drama piece, whereby she makes references to the transfer of the original text to a new social context.
3
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MIMESIS AND FICTION IN THE NEWEST SLOVAK DRAMA

100%
Knopova E.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 4
568-581
EN
The authoress in her contribution deals with the general characterization of mimesis as the imitation of the empiric reality, and with the elements of fiction as the imitation of the virtual entities in the context of drama , with a space and time ( known as time and location / known as a recognized and a recognizable time and location). Subsequently the authoress tries to analyze the categories of mimesis and fiction by the means of the actual samples of plays by the latest Slovak drama authors (V. Klimacek, E.Maliti-Franova, P. Pavlac, M. Karasek and so on).
4
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TELEVISION AND TELEVISIONAL DRAMATURGY

100%
Knopova E.
Slovenské divadlo (Slovak Theatre)
|
2006
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vol. 54
|
issue 2
218-229
EN
In the contribution on the TV dramaturgy we are approaching television as a technical medium, whose function was primary informatic - with the help of a picture and sound to catch a certain phenomenon and then trasfer it on the surface of the TV screen. As the time passed, the TV has been developing itself in both aspects - with regard to its form, and the scope of the contents. It has become the medium promoting its TV contents massively, catching thus all spheres of the human activities - the artistic sphere, too. The inner structure of TV and its programmes has been changing, and the same applies to its outward effect. The activity of TV practical dramaturgy has had to adapt to these conditions. TV has become the center of conjuction of the artistic and outside artistic spheres within the area of a single TV format. The information medium has taken over the role of a holder of the aesthetic and the ethical values as well as the emotions. TV artistic and outside artistic creation are in a constant contact. Common, the similar and derived features of the work and the depiction methods can be found in the TV creation almost in all its fields. This has been reflected in everyday accepting of TV contents by the spectators in both ways - in a direction inside, in the form of TV creation and dramaturgy, and in a direction outside, in a cultural and a social routing. We are getting to the utility culture, the commercial culture containing the artistic elements, in short, to the mass-medial culture where TV has reached a firm position with its deliberate 'popular dramaturgy'.
5
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ON THE SUBJECT OF TV KNOWLEDGE QUIZ SHOWS AND COMPETITIONS

100%
Knopova E.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 3
349-358
EN
The authoress in her contribution deals with several aspects of TV quiz shows (knowledge competitions). She is dividing knowledge or sciential competitions into several basic groups according to the type of knowledge required from competitors. The authoress is comparing the course, form and impact of quiz shows with functioning of the sciential system, social differential system, next is working with the concepts by Pierre Bourdie (cultural capital, theory of difference) and John Fiske (Quiz Show, Knowledge and Power - the notion was taken over from Michael Foucault and adopted by Fiske and similarly by British culturalism). The focus is directed to the inner structure of the quiz shows, but also on its perception by TV spectators. The authoress is reaching several concurrences with the above mentioned concepts, but at the same time is introducing entertainment as a dominant code element of the sciential TV programmes. Possible the social and class differences which emerge to the surface, are by this manners masked and seemingly democratically equalized. The quiz show winners thus become more of cultural influence bearers than a dominating social power. The authoress is at the same time alleging a strong and suggestive influence of the quiz shows which are divided into the group of programmes approaching the cultural elites (academic types of knowledge of a narrowly specialized character), and the group of programmes approaching the middle numerous layers (knowledge of a general human character).
6
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HASPRA'S ENCOUNTERS WITH TAYOVSKY'S 'ZENSKY ZÁKON' (THE FEMALE RULE)

100%
Knopova E.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 1
85-93
EN
A theatrical critic and theorist Elena Knopova continues in researching the issue of Haspra's stagings of Tayovsky's 'Zensky Zakon' (The Female Rule). She states that in Haspra's staging genesis of Tayovsky plays, a significant interpretation shift occurs when considering the first and the last staging of 'Zensky Zakon' (The Female Rule). By analyzing of three Haspra's encounters with the identical dramatic text, she is documenting internal advancing of the director's view on the classical drama, and is also investigating the social conditions which made Haspra reacted by changing of poetics.
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