Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 7

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

HASPRA'S PREPARATIONS ON HIS NITRA PERIOD AND ITS DURATION

100%
Kret A.
Slovenské divadlo (Slovak Theatre)
|
2006
|
vol. 54
|
issue 1
32-39
EN
A former dramaturgist of the Slovak National Theatre drama and a workmate of Pavol Haspra deals with a professional beginning of the director in a county theatre in Nitra, where after finishing the university study at the Fine Arts University in Bratislava, he acceded to work. Being a living witness of accessing of the first generation, which was educated as the graduated, he brings his attention to the problems that were then waiting for them, after they had come to practice. In his excursion into Haspra seven years' Nitra period, A. Kret concludes: Nitra period of a director Pavol Haspra confirmed the former prognoses on his future ways: he was a talented artist with an extraordinary planimetric and stereomatric fantasy, with an inclination to a slightly stylised reflection of the world.
2
Content available remote

THE YEARS OF GREYNESS

100%
Kret A.
Slovenské divadlo (Slovak Theatre)
|
2005
|
vol. 53
|
issue 3
229-233
EN
(First indications of changes in an artistic orientation of the Slovak post-war theatrical art in recollections of a participant) During the period between 1950s and 60s also the Slovak theatrical culture was trying to adjust to oppressive heritage of schematise and non-creative application of descriptive-realistic theatrical dogmas. In the time when a group of young theatre critics was considering the possibility of criticising the lurking stage style of a certain part of the Slovak National Theatre drama repertoire, this troupe took part in an extremely successful trip to the Soviet Union. Following favourable international acceptance thus significantly affected critical reservations against the artistic programme of the Slovak National Theatre, and entirely eliminated some of then registered contributions.
3
Content available remote

ON ERA OF THEATRE OF PAVOL ORSZAGH HVIEZDOSLAV

100%
Kret A.
Slovenské divadlo (Slovak Theatre)
|
2007
|
vol. 55
|
issue 3
420-427
EN
In the spring of 2007 the dramatic troupe of the Slovak National Theatre (SNT) moved from the scene of the Theatre of P.O. Hviezdoslav and 'Mala scena' (Small Scene) into the completed premises of the National Theatre. The building of the Theatre of P.O. Hviezdoslav which had the theatre been provided from (with in) 1955 (opened by Borodac's production of Hviezdoslav's tragedy 'Herodes and Herodias' on 28th May 1955) after a half century lost the status of the local scene of the representative Slovak drama. The author who spent a substantial part of this period in the SNT drama as a dramaturgist, is in his recollection returning back to the most remarkable creative results of the theatre, connected with his activities in this building.
4
Content available remote

HASPRA'S SELF-PROJECTION IN THE FEMALE STAGE

100%
Kret A.
Slovenské divadlo (Slovak Theatre)
|
2005
|
vol. 53
|
issue 4
361-365
EN
The veteran dramatic adviser of the Slovak National Theatre drama and an associate of the director Peter Haspra contemplates in his study on Haspra's perception of a female element in theatrical art. Using the example of his private relation to two prominent Slovak actresses, Viera Strnisková and Sona Valentová, and subsequently through theatre characters Haspra had given to these actresses in his stagings, the author studies inner emotional dimension of these plays. He concludes that Haspra was the type of a director who perceived the dramatic situation emotionally through his 'heart' and only then was looking for rational ways and possibilities how to make them into a peculiar and distinctive form. The author illustrates the method used by Pavol Haspra on various examples of stagings, and is generalizing, that it is mainly spontaneity in relation to a dramatic text and emotional dimensions which often remained concealed from others, that represent typical features of Haspra's position of a dramatic advisor and director.
5
Content available remote

FIFTEEN YEARS AFTER CESSATION OF THE LAST SPECIALIZED CHILDREN‘S THEATRE IN SLOVAKIA. (ON THE TROUPE FOR CHILDREN AND YOUTH IN SPISKA NOVA VES AS A BRANCH OF TJZ PRESOV 1980-1992)

100%
Kret A.
Slovenské divadlo (Slovak Theatre)
|
2007
|
vol. 55
|
issue 1
40-55
EN
In Spisska Nova Ves, a town with long term theatre tradition, the Troupe for Children and Youth originated in 1980 as a branch troupe of the Theatre of J. Zaborsky in Presov. The theatre had to overcome a plenty of obstacles and problems, beginning with a big migration in the artistic troupe which had been created by combining of the talented amateur theatrical artists and less used or starting professional producers from the eastern Slovak region, and ending by the absence of a firmer artistic leadership and dramaturgic focusing in the first seasons. A turnover came after a director Miroslav Kosicky had arrived in the half of 80-ties of 20-th century, whose leadership meant an artificial increase, and in 1992 the theatre eventually got its independence as the Spisske divadlo (Theatre from Spis).
6
Content available remote

ON THE ISSUE OF THE METAMORPHOSES OF THE POETICS OF THE SLOVAK THEATRE AT THE TURN OF THE 20TH AND 21ST CENTURIES

100%
Kret A.
Slovenské divadlo (Slovak Theatre)
|
2008
|
vol. 56
|
issue 3
352-356
EN
The author makes a statement that metamorphoses per se are a component part of evolution, which also holds for the evolution of the arts. He quotes the examples of the productions of Slovak classical plays, their dramatisation (from the 1970s onwards, such as the production of 'Zensky zakon' - The Woman's Law - by Tajovsky and 'Dom v strani' - A House on the Hillside - by Kukucin) and claims that these productions were not about the producers changing their fundamental perception of the life and society and the social background of protagonists. These productions were largely about the pursuit of external means of expressing the 'old facts' in a different way, so as to win the audiences over, to appeal to them. He refers to a spiritual scraping along of the modern theatre, to its attempts to piggyback on the show business wave, to bad taste and marginal themes, which, however, do not suggest any changes in the 'philosophy' of production devisers or changes in drama poetics.
7
Content available remote

IMMORTALITY OF ACTORS

100%
Kret A.
Slovenské divadlo (Slovak Theatre)
|
2008
|
vol. 56
|
issue 1
58-62
EN
70 years will lapse this year since Constantin Sergeyevich Stanislavski (1863-1938) died. He lived more than 70 years out of which almost forty years he was a personality known over all Russia and later also worldwide. Stanislavski really stirred the theatrical world. At least he succeeded in codifying and upgrading dramatic art into a specific stage creation. Actors before Stanislavski from great European houses of the end of 19th century and also those performing alongside with him across all Moscow and elsewhere, were not worse than those directly with Stanislavski, but even in first staging of the Moscow Artistic Theatre an obvious effort in conveying - not by civilization of performance even though it had been crucial too - was noticeable, but above all the effort in true empirical expression of the psychic status of pictured character. It could be named as copying, photographing, mechanical imitation - but it was all about the inner world of the character, about the status and impulse. The author then explores how Slovak theatrical culture has reflected Stanislavski's work, and deliberates on why up to this day a relevant professional reaction does not exist, or an attempt in interpretation or application of his theoretical work and also a practical dramatic school.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.