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MESSAGE OF INTER - WORLD WAR AVANTGARDE IN THE SLOVAK THEATRE III. TO POETICS OF MARIONETTE THEATRE ON THE BREAKTHROUGH OF CENTURIES ( TRANSFORMATIONS OF POETICS OF MARIONETTE THEATRE ON THE BREAKTHROUGH OF 20th AND 21st CENTURY)

100%
Panovova O.
Slovenské divadlo (Slovak Theatre)
|
2007
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vol. 55
|
issue 4
591-600
EN
Transformations of poetics on the breakthrough of 20th and 21st centuries in the Slovak marionette theatre are outlined by the authoress in broader circumstances, with the background of avant-garde and studio theatre movements mostly in Bohemia. Entering of a live actor into the marionette theatre stage caused the most significant changes of poetics. Under this influence the marionettists disentailed from the tutorship of illusion play, freed from interpretation and stage director theatre and thanks to this, the marionette theatre has become close with the movement of unofficial experimental groups, has freed itself from isolation. A trend to leading to an increasing participation of live actors which started in 1959, has reached bigger size after 1989. Positive results brought through this impact could be seen in the Slovak marionette theatre in the 90-ties, in overtaking methods and programme of author's theatre which had been worked out by the Czech studio theatres in the seventies. An absolute novelty is also the interest of marionettists into paratheatrical, therapeutic theatre activities (Doctor Clown, mentally handicapped or with hearing loss handicap and so on), what also belongs to developing of the message related to inter - war avant-garde.
2
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THE HERITAGE OF INTER-WAR AVANT-GARDE IN THE SLOVAK THEATRE (II). THE 90s OF 20th CENTURY - AUTHOR'S MARIONETTE THEATRE

100%
Panovova O.
Slovenské divadlo (Slovak Theatre)
|
2006
|
vol. 54
|
issue 4
599-608
EN
The study is dealing with a sharp and new trend that occured in the marionette theatre by the beginning of the 90s - by the application of poetics and also the methods of the Czech Study Author's Theatre. Through a brief retrospective, the authoress is returning back to the near and more distant past in order to clarify this phenomenon and continuity related to the heritage of the inter-war avant-garde. The artistic programme of the most combative Study Theatre 'Husa Na Provazku' in Brno was intentionally tying upon significant personalities: the script writer Jiri Mahen, directors J.Honzl a E.F.Burian and also upon the specific Czech poeticism. Since the Slovak marionettists were inspired by the activities of the Study Theatre in Brno, they have also indirectly tied upon the ideas and poetics of avant-garde. Next, the authoress is pointing on positive and qualitatively new impulses brought by the creative application of the new procedures and principles into the environment of the Slovak Marionette Theatre. Lastly, she is contemplating on the fact whether the trend of the author's marionette theatre does not mean drifting away from the path of development continuity of the marionette theatre. She is surprisingly concluding that in reality it is just a natural continuation in the tradition from both sides - a domestic creation, and also in a tradition of genre; it brings about advancement of the best in both aspects.
3
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CHANGING REGIONAL PUPPET THEATRES TO ALTERNATIVE THEATRE AFTER 1989

100%
Panovova O.
Slovenské divadlo (Slovak Theatre)
|
2008
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vol. 56
|
issue 3
329-333
EN
The authoress elucidates the most marked and most productive change in Slovak puppetry. In the 1990s and early 21st century, thanks to the convergence on the principles and methods of work of alternative theatres, 'Babkove divadlo na Razcesti' (At the Crossroads Puppet Theatre) in Banska Bystrica and 'Stare divadlo' (The Old Theatre) in Nitra managed to take the lead in theatrical life. Their production is largely characterized by team author creation, improvisation and by close contact with the audiences.
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