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DRAMATURGIA NEZÁVISLÝCH KULTÚRNYCH CENTIER (STANICA ŽILINA-ZÁRIEČIE A CENTRUM NEZÁVISLEJ KULTÚRY ZÁHRADA N. O.)

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Ballay M.
Slovenské divadlo (Slovak Theatre)
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2014
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vol. 62
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issue 3
252 – 267
EN
This article deals with the two independent cultural centres in Slovakia – the Stanica Žilina–Záriečie (Žilina–Záriečie Station) cultural node and the Záhrada (Garden) independent cultural centre, a non-profit organization which is based in Banská Bystrica. Particular attention is paid to certain dramaturgical tendencies, functions and associations made with a particular spatial location as well as the cultural centres’ influence on the specific regional cultural climate and overall location. The article maps the background to particular activities in the development of theatre culture and covers the special arrangements put in place for the emergence and existence of individual works from a perspective asserting that the physical realization of particular residencies is of unequivocal benefit to the laboratory-like cultivation of the contemporary poetics of independent theatre and dance.
2
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MARGINÁLNE O FESTIVAL NOVÁ DRÁMA 2015

100%
Ballay M.
Slovenské divadlo (Slovak Theatre)
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2015
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vol. 63
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issue 4
392 - 397
EN
The paper is a marginal reflexive probe into this year’s New Drama Festival (10–15 May 2015 in Bratislava). This festival has a unique focus on contemporary texts of the so-called new drama (of Slovak and foreign provenience). The author deals with several selected productions, thinking about their themes and unusual expression, or innovative communicativeness. He states that this year’s 11th year of the New Drama Festival was mainly a platform of new communication of theatre in the universal sense and not only a traditional, recapitulating show.
3
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HUDOBNOSŤ V AUTORSKEJ POETIKE KAMILA ŽIŠKU

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Ballay M.
Slovenské divadlo (Slovak Theatre)
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2014
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vol. 62
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issue 1
96 – 107
EN
In his paper, the author deals with some selected aspects of musicality in the directorial poetics of Kamil Žiška. Primarily, he focuses on models and transposition of musical expression, its extension to other components of stage synthesis. The intention of this paper is to grasp functionally possible functioning of the author's mind, directorial methods and specific aesthetics of theatre.
4
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VÝRAZOVÉ TENDENCIE SÚČASNÉHO POULIČNÉHO DIVADLA

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Ballay M.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 2
173 – 190
EN
The paper is a brief prolegomena to an extensive research of the phenomenon of street theatre. He discloses the strategies for mapping the present street theatre culture with regard to the currently most prevailing manifestations in contemporary Slovakia. He reflects the particular expressive tendencies within contemporary street theatre and strongly distinguishes its factual specifications. In the conclusion, the author presents more explicit concept of how to determine the nature of this type of theatre and outlines relevant, possible typology. At the same time, he also points out the individual functions of the present street theatre in Slovakia. Poetics of the contemporary street theatre in the domestic context quite differs from the street production made for a sole purpose. In the current staging practice, street theatre can be in Slovakia many things, which is often a major problem in the final mapping and understanding of the issue. Sometimes any outdoor open-air presentation bears the label of street theatre, although it completely lacks the attributes ascribed to this type of theatre. Street theatre in Slovakia has many variants and therefore is mostly mixed with non-theatrical theatricality, with show and other street attractions that the very street theatricality not just overlaps but, unfortunately, sometimes completely replace. The presence of such street theatre is actually in Slovak conditions rare, unique, nourished only by a few initiatives, theatre companies and events. As a result, it creates a coherent colour of street 'spectacle', which is sometimes seen on the surface as a revitalized, re-recognized theatrical form developed in the sporadic but constant spirit. "Open air theatre" or "outdoor theatre" has its specific conditions for the existence on the cultural map of theatre, its right to exist in the context of domestic theatrical culture. Similarly, it follows fixed, unwritten laws, language, aesthetics and even the original expressive tendencies, which clearly enrich and even inspire the overall culture of theatre.
5
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REŽIJNÁ POETIKA ONDREJA SPIŠÁKA

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Ballay M.
Slovenské divadlo (Slovak Theatre)
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2013
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vol. 61
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issue 2
135 - 151
EN
In his general overview, the author summarizes the specifics of poetics of Slovak award winning theatre director Ondrej Spišák (1964) in the context of expressive modalities of his work as well as distinctive features of his theatrical and directorial work. The holistic approach to Spišák’s directorial work allows the author to some extent generalization of certain characteristic features of the artist’s work although the study is not a full portrait of the director O. Spišák. On the basis of short analyses of selected productions, the author points to the apparently dominant constructional and compositional elements of his stage work. Gradually, he specifically identifies the means used by the director to create a theatrical designatum, which undoubtedly become the basis for unique creation of particular parameters of receptions, effects on the viewer.
6
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MODALITY AUTORSKÝCH RECEPČNÝCH VPLYVOV

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Ballay M.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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issue 3
235 – 244
EN
In a generalising fashion, the author examines a set of reception influences of the author theatre. He finds multidimensional expressiveness of a dramatic piece structure in contemporary author theatre styles. Using several examples, Ballay examines expression range of reception influences of contemporary Slovak author theatre at the levels of the word, of the actor’s role, direction, incidental music, visual considerations, and theatre production texture and of the stage synthesis per se. However, the conclusions of the study would not provide a sweeping overview of the current state of contemporary author theatre in Slovakia. They are to be understood as a theoretical sketch of the vital phenomena within this context.
7
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HERECTVO V TEATRO TATRO

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Ballay M.
Slovenské divadlo (Slovak Theatre)
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2014
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vol. 62
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issue 2
161 - 175
EN
In his paper, the author deals with the issues of acting in the context of the theatre company Teatro Tatro poetics. He focuses on the nature and typology of acting in its theoretical and generalizing form and is interested in unique variability of expression in acting, highly heterogeneous, flexible and wide-ranging. The author functionally categorizes acting primarily in terms of spatial dimension as well as thematic categories of character and directing. He pays attention to its entertaining nature in broader horizon.
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