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SCHÉMA KONTRA IMAGINATÍVNOSŤ – DVA NOETICKÉ PRINCÍPY NORMALIZAČNÉHO DIVADLA

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Maťašík A.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 2
142 - 149
EN
The author deals with the development of Slovak professional theatre in the period before and after the occupation of the former Czechoslovakia. He highlights the situation in dramaturgy, which after a period of relative freedom and openness to influences from other cultures fell after 1970 under the pressure from dogmatists, demanding re-isolation of Slovak art from parallel processes in Europe and worldwide. The author shows how prominent personalities of Slovak theatre as well as the younger artists reacted to the pressure of political normalisation.
2
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K NIEKTORÝM UMELECKÝM A MIMOUMELECKÝM DÔVODOM PREJAVOV FENOMÉNU GENERAČNOSTI V SLOVENSKOM DIVADLE 2. POLOVICE 20. STOROČIA

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Maťašík A.
Slovenské divadlo (Slovak Theatre)
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2013
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vol. 61
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issue 1
15 – 35
EN
The author analyses development of the Slovak professional theatre after World War II from the perspective of emerging generationally related art teams of the theatre makers. He notes that generational manifestations have always been conditioned by social situation because the basic attributes of this concept are the uniformity of opinion and the ability to strongly articulate civic and artistic views in controversy and confrontation with the prevailing social atmosphere. The sixties brought along a release of social tension and at this period quite a number of university-trained young theatre artists active in theatres were stepping up against a strong group of older artists, who after years of schematism showed remarkable vitality and were able to absorb many elements of modern theatre. The first full-valued generational theatre was the theatre company Divadlo na korze. In the seventies, a tendency towards a generational theatre was to be found especially in theatres in Trnava, Nitra and Martin, but in all cases these were repertory theatres with staging production varying from generational proclamations of "otherness" to mainstream pieces. Generationally clearly defined theatre was given the opportunity to develop only after social upheaval in 1989.
3
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INŠTITUCIONÁLNE PERIPETIE SLOVENSKÉHO PROFESIONÁLNEHO DIVADLA PO ROKU 1989

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Maťašík A.
Slovenské divadlo (Slovak Theatre)
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2013
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vol. 61
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issue 2
152 - 166
EN
In his study, the author examines changes in the organizational and economic background of the professional theatre production in the Slovak Republic after the late eighties of the 20th century. The socialist regime fully centralized theatrical activities and only Ministry of Culture could approve establishment of new theatre scene. The first step after the social changes in 1989 was replacement of theatre executives active during the previous period and as a result a variety of specialized ensembles began to emerge. After the opening of accession negotiations with the European Union in 1995, the Ministry of Culture under European recommendations implemented the project of decentralization of cultural institutions. The Ministry of Culture established three institutions as the core network guaranteeing general access for financially demanding arts of opera, ballet and musical drama throughout the national territory. After the election, the newly elected Minister Milan Kňažko gradually set aside all transformation measures and all theatres except SND and New Scene were delimited within the scope of county councils. In the autumn of 2003, the Minister of Finance made a first attempt to pass the almost completed new building of the Slovak National Theatre to the private developer and a year later prepared a Memorandum of Understanding between the Government of the Slovak Republic and the investors, who agreed to become the new proprietor under the condition of completion of the object so that in addition to a preserved opera hall, the areas intended for drama would be turned into a commercial gallery and a hotel with convention facilities would be built beside the object. Many prominent personalities of the Slovak cultural and social life opposed such plan. After the 2006 elections new building was completed under the leftist-centre government and in 2007 it became the seat of all three artistic bodies of Slovak National Theatre.
4
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HĽADANIE NOVÉHO DRAMATIKA (SEDEMDESIATE ROKY 20. STOROČIA V SLOVENSKOM DIVADELNOM KONTEXTE)

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Maťašík A.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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issue 4
349 – 365
EN
In the sixties, Slovak Theatre eagerly adapted modern European and world drama and did not hesitate to stage inventive interpretations of home and foreign classics and some of their outstanding productions even earned respect in the wider European cultural context. Since 1965, Slovak theatres staged only a few original plays written by Slovak playwrights that could withstand the demanding criteria and deserve to be staged again. In the early seventies, the majority of Slovak dramatic productions were just variations on a reliable model of psycho-realistic „images of life“ The model of drama employed by Karvaš tried to form a more or less logically constructed model story with the real world characters and situations that would reflect everyday experience and feelings of the audience. This approach to dramatic text was only modestly questioned by the practice of a small group at the end of the sixties and early seventies still beginning amateur artists, such as Stanislav Štepka and Milan Markovič in Radošina Naive Theatre, Ivan Hudec and Ján Belan in Theatre at Roland, Karol Horák and student theatre at the Faculty of Philosophy in Prešov UJPS and young students in the Theatre Behind the Gates in Bratislava and later their younger followers, who wrote their texts directly with the idea of their practical implementation. In the first half of the seventies, a strong generation of young artists gradually integrated into the Slovak professional theatres. Rather than „truth“, they preferred the stage imagery and metaphor, rather than practiced precision they preferred playfulness. An important attribute of texts that young theatre makers consistently sought for and which they directly inspired was the resignation from the classical structure of the dramatic text construction. The significant difference between the older and younger generation of playwrights was the rejection of the principle of process causality in the construction of situations and characters. Another significant and defining feature common for this new type of plays that were gradually added into the repertoire of Slovak ensembles thanks to the young staging teams was a strong reluctance to word as a bearer of meaning. The second half of the seventies was a turning point, when the creative energy of young theatre artists generated the first dramatic texts written for the needs of specific ensembles and respected the effort of particular theatres to modernize their repertoire.
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SLOVENSKÁ KLASICKÁ DRÁMA A RÉŽIA NA PRELOME TISÍCROČÍ

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Maťašík A.
Slovenské divadlo (Slovak Theatre)
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2014
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vol. 62
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issue 3
237 – 251
EN
This paper analyses the relationship of Slovak dramatic theatre to Slovak drama classics between 1989 and 1994. This paper analyses the issue by discussing the characteristics of the distinctive approaches adopted by notable figures in theatre production and examines the situation through “official” theatre companies. This is done for three key reasons: (a) at the turn of the millennium, the institutional foundations of Slovak theatre still functioned on the basis of inertia, and independent theatres and agencies and ad hoc groupings of theatre makers were still only being established; (b) national classics were practically absent from the season programmes of independent theatre companies until the mid-1990s because until then these companies had presented themselves as “authorial theatres” and as theatres focusing on contemporary works; (c) a number of decentralizing administrative and organizational changes were initiated in the mid-1990s which resulted in the creation of a new model of organizing professional theatre, meaning that developments after 1995 deserve separate attention. The assertion is made that in the analysed period there was an exceptional situation at the Jonáš Záborský Theatre in Prešov due to the productions of Ján Sládeček, which knew how to extract contemporary social messages from the older dramas (e.g. plays by Jozef Gregor Tajovský, Milo Urban and Ján Palárik). By contrast, national classics were not included in the majority of season programmes of professional Slovak theatre companies in the years immediately following the change in political regime.
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VAVRO ŠROBÁR A VZNIK SLOVENSKÉHO NÁRODNÉHO DIVADLA

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Maťašík A.
Slovenské divadlo (Slovak Theatre)
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2015
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vol. 63
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issue 4
338 - 356
EN
The author follows institutional steps which preceded the beginning of the first Slovak professional art institution – the Slovak National Theatre (1920). Having done research into primary sources, he revises some surviving legends surrounding the beginning of the Slovak National Theatre, a result of the Czechoslovakist perception of development in the 20th century and a cult regarding Ján Borodáč as the first Slovak theatre professional. The author focuses especially on particular activities of Vavro Šrobár, a minister fully empowered to govern Slovakia (and at the same time Minister of Health of the Czechoslovak Republic), which resulted in his decision to engage Bedřich (Friederich) Jeřábek’s theatre company in Bratislava, where it operated under the name of the Slovak National Theatre. Activities related to the beginning of the professional theatre are followed against the backdrop of turbulent developments in 1918–1920.
7
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INÁ DRÁMA V ROKOCH OSEMDESIATYCH

100%
Maťašík A.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 4
420 - 434
EN
The author builds on his previous study and continues analysing the early attempts to form alternative dramatics in the seventies of the twentieth century. He draws parallels between concentrated efforts of young theatre- makers to distinguish them from the conventional type of production dominating professional theatre scene at the time of normalization and attempts of the authors to break free from the mannerism of psychological realism, a form-creating base of so-called socialist realism in the field drama. In the eighties, the Theatre for Children and Youth in Trnava and A. Bagar Theatre in Nitra were the places of initiatives attempting to modernize the dramatic arts. In Trnava, B. Uhlár in collaboration with O. Šulaj as well as in his own texts emphasized the systemic critique of the social situation, using the means of grotesque, irony and sarcasm, which opened a discussion within the theatre ensemble. Apparent contradiction to Uhlár‘s political theatre were almost idyllic pastel and harmonious theatrical images by Juraj Nvota, created in collaboration with Miroslava Čibenková, Stanislav Štepka and the others. Team in Nitra, formed by the director Jozef Bednárik and the dramaturg Darina Kárová with the participation of visiting authors, (Vlado Bednár, Vincent Šikula, Andrej Ferko), was in more complex situation, because alongside the efforts of this group the theatre featured also original mainstream repertoire created in the conventional style of production. In the Theatre for Children and Youth, but also in other art groups (amateur ensemble DISK, A. Duchnovič Theatre in Prešov) Blahoslav Uhlár continued steadily and even more progressively his program, finally fully realized in the independent theatre STOKA in the nineties. Conversely, authors who entered the theatre in the seventies and eighties as discontented rebels eventually accepted some of the conditions whose fulfilment limited the acceptance among the officially respected individualities - and their works subsequently became a part of the prestigious Slovak theatres and were aired on television.
8
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AKO V INŠTITÚCIÁCH VČERAJŠKA HOVORIŤ DNES O VÍZIÁCH ZAJTRAJŠKA?

100%
Maťašík A.
Slovenské divadlo (Slovak Theatre)
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2013
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vol. 61
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issue 3
334 - 343
EN
In the introduction the author returns to the history and states that the Slovak National Theatre was established in 1920 as a part of the decision to expand the network of professional theatres that existed in the Czech lands after WWI to the east. Legislators decided to socialize all theatres (1948). The socialist state viewed theatre as a powerful ideological weapon. There was no television yet, but a theatre ensemble could get to the most remote villages and, according to those in power, spread progressive ideas through its productions. The social change in 1989 brought no ambition for radical change in the area of theatre. Theatres as allowance organizations always received the same funding as the year before irrespective of the artistic quality of their production. This might have been the reason why theatres were dissatisfied and why theatre-makers were at the forefront of the efforts for social change. Changes in the institutional system of Slovak professional theatre in the 1990s happened without any discussion about the basic issue of the relationship of theatres to a particular group of citizens who are interested in this public service and willing to support it financially. Besides a sociological survey conducted by the National Educational Centre for the National Theatre Centre in the late 1990s, there is no conclusive evidence that Slovak citizens and tax-payers need theatre in order to live a better and fuller life. In principle, the decisions on the existence or non-existence of a theatre should not be made by officials in Bratislava, who allocate the collected taxes, but these decisions should be made by citizens who either want or need a particular theatre to continue its existence or have other preferences. Professor Peter Karvaš always emphasized that the theatre is based on the fact that a live person plays the part of another live person in front of a live person in the auditorium. The state thus subsidizes clearly commercial theatrical projects, which do not need to be denounced, only more clearly labelled and viewed as business activity which will turn things like the popularity of actors and media legends to profit. This would result in a system of minimum three multi-ensemble theatres, one in the west, one in the east and one in Central Slovakia. These theatres should include opera, drama and ballet companies and have a clearly formulated artistic mission. This network of theatres could, of course, be supplemented by commercial theatres that could be operated as non-profit organizations or companies or run by a sole trader, albeit with the risk that they may fail.
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