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THE SCENE DESIGNER IN THE CO-ORDINATES OF HIS WORK (VLADIMIR SUCHANEK AND THE 90TH ANNIVERSARY OF SLOVAK NATIONAL THEATRE) (Scenograf v suradniciach javiskovej tvorby (Vladimir Suchanek a 90 rokov SND))

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Kret A.
Slovenské divadlo (Slovak Theatre)
|
2010
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vol. 58
|
issue 2
83-129
EN
This year, Slovak National Theatre celebrated its 90th anniversary. A few of those active here in the previous years or those who are employed here recently spent all their creative life as a part of this institution. One of those was the scene designer Vladimir Suchanek (1934), engaged immediately after the graduation. Over the forty years he created dozens of scenic compositions and influenced the artistic views on art in the National Theatre, insights into his own aesthetic aims and objectives of this theatre. At the same time, however, he stood in the shadow of his mentor and 'superior', chief of creative arts section and theatre workshops - Ladislav Vychodil. And even the international success and awards at the Prague Quadrennial did not change this situation. Vladimir Suchanek worked in tandem with the director Pavol Haspra. Genre palette of his scenic works was done predominantly on the request. Haspra was especially in favour of heartbreaking stories and full blooded characters. He believed, and it seems that he had found the key to unlock a genre of tragic farce as showed his original adaptations of King John (Dürrenmatt, 1970), The Magnificent Cuckold (Crommelynck, 1972), An Attempt to Fly (Radickov, 1980) Pigeons and Sulek ( Podhradsky, 1981). The director and the designer shared a common understanding of artistic shortcuts and combinations of 'quasi' genre attributes, symbols, visualizations, which often tended to gain almost a naively childish form. At least in the 'A Flying Cart' or 'Calendar of Life and Death' (both of these plays) was Suchanek not just 'a set designer', but together with Haspra also a co-director. The author, who closely cooperated for decades as a literary advisor with Vladimir Suchanek, gives an account of a remarkable personality of Slovak scene design in the second half of the 20th century.
2
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ON THE CONCEPT OF THE 'PROLETARIAN THEATRE' IN THE FIRST CZECHOSLOVAK REPUBLIC (K idei 'proletarskeho' divadla v prvej republike) Source: Slovenske divadlo (Slovak Theatre)

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Kret A.
Slovenské divadlo (Slovak Theatre)
|
2010
|
vol. 58
|
issue 1
65-68
EN
Although marginally, the phenomenon of the 'proletarian theatre' affected Slovak theatre towards the close of the 19th and in the first half of the 20th centuries. These ideas were imported to Slovak culture largely from the Czech theatre context, where there was an active grouping of left-oriented intellectuals called Devetsil. Their manifesto was built on the post-revolutionary forms of agitprop theatre proliferating in Russia. Anton Kret, theatrical advisor, translator, and theatrical historian, summarises the knowledge of the Slovak dramatic science on the presence of this phenomenon in Slovak theatre history and compares it with the development in the related Czech culture context.
3
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ACTOR AS THE SUBJECT OF CRITICISM AND PEDAGOGY (Herec ako objekt kritiky a pedagogiky)

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Kret A.
Slovenské divadlo (Slovak Theatre)
|
2011
|
vol. 59
|
issue 1
33-36
EN
According to the author, we shall notice that we can not talk anymore about the difference between the author created drama character and its original image in the reality. We don't know when in the field of aesthetics we should consider only the art and when also the source of art - the nature itself. However, we require students to named and be able to describe different schools of art, styles, and eras that are nothing less but a desperate attempt to find the truth in a drama character on the stage. The author attempts to view an actor as an object (as well as a tool) commonly used by theatre experts and critics, who increasingly view the actor as an interpreter of different schools of art, styles, and eras rather than as talented interpreter of his/her own inner feelings and emotional state. The result is the loss of focus on the uniqueness of individual interpretational skills of the actor - creator. This author argues that the character coming to life through actor's actions depends on the contemporary understanding of the theatre.
4
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THE CENTENARY OF JULIUS BARC-IVAN (Storocnica Juliusa Barca-Ivana)

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Kret A.
Slovenské divadlo (Slovak Theatre)
|
2009
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vol. 57
|
issue 2-3
129-134
EN
The paper is the contribution to important jubilee, the 100th anniversary of the birth of Julius Barc-Ivan, by reflecting on the uniqueness of the creation of this author within the context of Slovak drama. If Barc's plays are staged in the future, even decades on, an impetus for putting his plays on the stage will be the poet's struggle for enlarging the action range of drama by combining reality with fantasy and dream as component part of an artistic image rather than informative, miniature painting and descriptive values. And it is the author's peculiar language, the construction of a laconic dialogue capitalising on literary image, and a completely free approach to the choice of a theme, along with imagery, absurdity, dream creation and virtually an ingenious sense of the artist's constant playing with all these elements which constitute the major parts of his image-creating tool. Barc drew on national and classical examples and on the masters of Slovak and world drama, of which he was not only a disciple and admirer, but, above all, he proved to be an ingenious partner to ingenious masters.
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