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1
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A VIVACIOUS MASTER OF THE SHARP PEN

100%
Matasik A.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 2
349-354
EN
An obituary of the prominent Slovak theatrical and film critic and theoretician Emil Lehuta (born on 10th November 1931, died on 25th January 2006), who in the long term worked in the Cabinet of Theatre and Film of the Slovak Academy of Science and who from a young age had achieved a reputation of an uncompromising and a demanding critic. In the 70-ies his possibilities to enter into a current theatrical action were limited and he was subject to publication activities prohibition. After 1990 he published a memoir of the dramatist Jonas Zaborsky and an extensive study on the Slovak drama development after the World War 2, for three years he was in the position of a director of the National Cinematographic Centre, and afterwards he was working as a research worker of the National Theatrical Centre until he was dismissed in 1999.
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TWO ACTOR GENERATIONS OF SLOVAK PROFESSIONAL THEATRE . STARTING POINT OF THE SLOVAK HISTRIONICS

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Matasik A.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 1
30-39
EN
By the beginning of 20-th century the theatre has not got the status of an independent type of an artistic activity, and unlike a writer, painter, or a composer, a theatrical artist was only a certain type of a craftsman. The situation of the Slovak histrionics was even more complicated. The Slovak revolution in past years redirected the running train of assimilation of the Slovak and their dissemination among the surrounding nations of the monarchy, but it did not succeed in concluding the process of a national emancipation by constituting the professional institution of the National Theatre, like the Czech or Hungarian nationalists did in a approximately the same time. The author of the study is interested in what is possible to gain from the sources about the first generation of the Slovak professional actors. He is stating that despite the verbally declared interest in supporting the Slovak theatre, the talented actors were penetrating into the troupe of the Slovak National Theatre drama only very slowly. It resulted from the social disbelief in the status of a professional theatrical artist, its role was played also by the ambition of the Czech entrepreneurs to perceive the theatre in Bratislava as just another Czech rural institution.
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PATHS OF SLOVAK DRAMATIC ART

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Matasik A.
Slovenské divadlo (Slovak Theatre)
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2008
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vol. 56
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issue 1
12-20
EN
The study is a part of a prepared monography on two great generations of the Slovak dramatic actors. The founders of the Slovak professional theatre were drawing experience mainly from Czech colleagues who in 1920 had started in Bratislava and in the Slovak countryside performing under the title the Slovak National Theatre. Borodac was aiming at professionalisation of the Slovak theatre slowly and systemically. Since 1921, when he saw the staging MCHAT, he starts mentioning Stanislavski as his great model, but the reality in a single professional theatre in Slovakia was completely different. The best Slovak amateur actors were reacting with restrain and denial towards the offers placed by the rural Czech theatrical company, and spectacular background of Slovak stagings was in multinational Bratislava very narrow. That is why not even the most successful pieces did not have a chance to reach a higher number of reruns. He did not have actors at disposal who could have communicated in Slovak without any difficulty. At the break of fifties and sixties, graduates from the Musical and Dramatic Academy (originated as a initiative of Borodac in 1925, since 1941 the State Conservatory) and the first graduates from the University of Fine Arts (originated in 1949) formed a basis of the second, in full meaning of the word professional generation of the Slovak theatrical artists. Their situation was diametrally else. Above all, the theatre did not need to struggle to achieve acknowledgement as an independent artistic genre. This fight for theatre was thanks to struggling and victory of interwar avant-gardes over. Theatre troupes were not performing on the basis of small trade enterprising, but have become art institutions subsidized by the state. In fifties a first massive generation of modern Slovak Bratislavian theatre goers was formed. In the Slovak theatre-historical sources a contrast view can be found: Borodac is indicated as a dramatic realist, Jamnicky as a creator of a stylized theatre. It would be more precise to say that Borodac began with descriptive realism in combination with actor's routine and cliché. He gradually succeeded to work his way out to aesthetics, which is determined as psychological realism. Jan Jamnicky in his early director's times experimented in spirit of what he knew about discharge of interwar dramatic avant garde and quickly realized that too much of miniature, aids and other 'crutches' are obstructing the actor. Borodac's interest was to invoke an illusion of an actual space, as opposed to Jamnicky who is searching for an architecture of the theatrical space, together with Emil Bellus is preparing his stagings not anymore like 'animated' pictures, but in arranging scenes he is looking for a way to support actor's creativity and earn the most possible strong effect on a spectator.
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RETURN OF PETER KARVAS DIRECTED BY PAVOL HASPRA

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Matasik A.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 1
62-69
EN
A few days before Christmas in 1969 the opening of Karvas's play 'Abslolutny zakaz' (The Absolute Prohibition) took place at 'Mala scena' (The Small Stage) of the Slovak National Theatre. Short after this opening, one of the most prominent Slovak dramatist had become the one to whom an absolute prohibition applied very personally. Karvas even after having been expelled from the theatre did not stop writing. From that period comes also the detective play 'Sukromna oslava' (The Private Party), which was the play he had come back to the theatre with, after the lapse of almost twenty-two years. The theatrical critic and theoretist Anrej Matasik states that Haspra, being an experienced practician, must have been aware after first reading that 'Sukromna oslava' (The Private Party) was not the kind of a play to show off the director's ability to create a theatrical magic and thus impressing the audience by a geyser of the fancies. Despite that, he as a director sensed, that it was his moral responsibility - to be present when unjustice commited at undoubtedly the most significant playwright of his generation, was eventually redressed. He was proud to have been at Karvas's returning back.
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THE LAST ACT IN CONSTRUCTING THE NEW BUILDING OF THE NATIONAL THEATRE IN BRATISLAVA (2003-2007)

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Matasik A.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 2
245-327
EN
Since 1984 a new theatre building has been upgrowing in Bratislava. The regime of socialist nature not suspecting then that in five years will cease to end, had taken a resolution to invest into a grandiosely dispositionaly designed object with an independent scene for opera and ballet (900 spectators) for drama stagings (600 spectators) and an experimental flexible studio with capacity from 150 to appr. 250 seats. According to the original intentions the building was to be ready for the Slovak National Theatre by the beginning of 90s of 20th century, and even though the rough construction was assembled rather quickly, then tailing away began. After a turnover in 1989 the views on demolishing the construction were voiced out, since it had been thought to be a monument of the former regime. Resulting from a rapid inflation and price increase of all materials used, but also from the fact that many supplier companies had ceased, the construction was practically stopped in the half of 90s. In 1999 the Government adopted a decree on completing the construction in the election year 2002. Since this deadline was missed, the Government of Mikulas Dzurinda adopted a decision in 2003 about selling the building that was practically completed. After protests of the public and the opposition politics, the decision was changed and the Government started seeking the alternative ways of completing the construction. In 2004, the Government adopted the Memorandum on Understanding which enabled a private company Delaware (USA) to get control over the building, change the drama part into congress-shopping- entertaining complex and the site belonging to the building was to be used to construct a hotel. This step of the Government was met by a massive resistance. It was declined within the special meeting by the National Council of the Slovak Republic. The Council made it binding for the Government to complete the construction from public sources. On 14th April 2007 the theatre was dedicated with the most prominent representatives of the Slovak Republic present, and has become the residence of the Slovak National Theatre.
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PAVOL HASPRA AND HIS THEATRE OF PASSIONS AND EMOTIONS

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Matasik A.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 1
5-15
EN
A monothematic issue of the magazine the Slovak Theatre publishes the contributions which were presented at the 3rd Theatrological Conference in the cycle Today and Here held in Banská Bystrica on 9th December 2005. The conference was organized by the Cabinet of Theatre and Film of the Slovak Academy of Sciences, the Faculty of the History of Arts of the Academy of Arts, the Slovak Theatrological Society, the Association of the Slovak Theatrical Critics and Theoreticians and the Association of Philologists Self-Help with the contribution of the Minister of Culture of the Slovak Republic.The organizers formulated the topic: Pavol Haspra - Theatre of Passions and Emotions. Pavol Haspra, a theatre director, was for the period of four decades an integral part of the Slovak National Theatre drama and a significant personality of the Slovak theatrical history. The conference initiator, a theatrical critic and historian Andrej Matasik in the introductory study focuses on the characteristics of Pavol Haspra´s theatrical opinion. He observes that: It is known that by a stature, Haspra was quite short, but by his temperament and zest, and the ability to kindle others, by his eruptiveness and resourcefulness, he grew taller than his surroundings. Haspra - after acccessing to the Slovak National Theatre - became the director of mainly contemporary plays, and since he performed the substantial part of stagings in the sixties at Mala scena (The Small Stage) in Bratislava, in fact in the conditions of a chamber space where there is a close contact between an actor and a spectator, hence we can consider Haspra also the initiator and effecter of the cardinal transformation of the Slovak dramatic art in the sixties. The space of Mala scena (The Small Stage) was forcing him to ask for a maximum authenticity from the actor, since every single fraud could be easily detected by the spectator, and so deceiving by a magic of generous mis en scene, by a lofty and pathetic gesture, or a showy articulation of the text was beyond possibility. At the same time he was aware that these, very often seriously looking dramatic encounters of the antagonistic views, are just boring talks on positions, explanations of philosophical disputes, while for an eruptive explosion of an authentic emotion to happen, sometimes only a little mite is needed, other time just a neglected or tolerable impuls. This is why he was willing to painstakingly look for those naggings or ostensible reasons even where their occurence was just potential.
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IN THE THEATRE, THE AUDIENCES SEEK AN ANSWER TO THEIR QUESTIONS ABOUT THE ART OF LIVING

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Matasik A., Ol'ha M.
Slovenské divadlo (Slovak Theatre)
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2005
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vol. 53
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issue 1-2
114-135
EN
Director, theatre photographer and teacher Matús Ol'ha belongs to the most distinct personalities of the middle generation of Slovak theatre professionals. In the first part of the interview he recalls the early stage of his career in theatre, which was closely linked to the Little Theatre Studio in Kosice in the 1970s. This theatre 'attacked the petty middle-class man' and the emerging consumer society, it put great emphasis on all-humanity themes emotionally appealing to the viewer and on the acts in the name of human freedom (such as 'Peaceful Dawn' by B.Vasiliev). Further, the interview maps out Ol'ha's work as a director in the A. Duchnovic drama theatre, the repertory of which is in Ruthenian.
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IN THE THEATRE, THE AUDIENCES SEEKS AN ANSWER TO THEIR QUESTION ABOUT THE ART OF LIVING (II)

63%
Matasik A., Ol'ha M.
Slovenské divadlo (Slovak Theatre)
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2005
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vol. 53
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issue 3
267-286
EN
In the second part of the interview (1st part can be found in 1-2 (2005) issue), the theatrical critic and historian A. Matasik talks to the famous Slovak theatre director of the middle-age generation about his cooperation with the Slovak professional troupes - with the A. DUCHNOVIC Theatre (performing in Ruthenian, the national minority language), as well as with non-professional theatre troupes, mainly with amateurs from Brezno and the Slovak amateur actors of Vojvodina in Bácsky Petrovec. In his interview the prominent Slovak director Matus Ol'ha draws attention to a negative development and devaluation of the theatrical art position in society, which is linked to a general cultural crisis, to omitting of its meaning and needs in Slovakia in the turn of the millennium. In the conclusion the director Ol'ha voiced out an apprehension that the present lack of qualified theatrical criticism can in a longer perspective result in an absence of authentic testimonies on the situation of the Slovak theatre, and that it will no longer be possible to evaluate the production of this theatrical generation in its complexity and continuity.
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