Search results - CEJSH

1

SIGISMUNDUS REX ET IMPERATOR. ÚVAHY NAD VÝSTAVOU UMENIA ŽIGMUNDOVSKEJ DOBY

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Oriško Š.

ARS

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2006

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vol. 39

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issue 1

31-52

EN

The paper deals with the international exhibition project 'Sigismundus - Rex et Imperator - Sigismund of Luxembourg, Arts and Culture 1387-1437'. It presents the emperor, his life and activities in connection with the arts and culture. The historiographies of the Central European countries where Sigismund once ruled, considered both the monarch and his era often very emotionally and with the great differences. They also came into touch with the nationalist prejudices and the various ideological standpoints. The exhibition undoubtedly tried to anchor Sigismund of Luxembourg into European relations. In the separate chapters the exhibition presented Sigismund's residences, the culture of the King's court and its products, the Emperor‘s leading role in the European politics, his portraits and a political heritage. The ending part of the exhibition was dedicated to the arts of the King Sigismund's era in a broader meaning - to the arts of the International Gothic style. Presented artefacts often originated in the regions outside the center, in border regions of medieval Hungary, but in touch with Central European currents in sculpture, table and book painting, textile art, goldsmithery etc. The goal of this important part of the exhibition was to present Central European context and a specific territory of the Hungarian Kingdom within it. This section had clearly an art historical character and can be taken as the first specialized attempt to present the phenomenon of the arts around 1400 within the mentioned geographical boundaries. The exhibited artefacts and the catalogue descriptions brought into light many new attributions and datings for the art historians to deal with.

2

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))

100%

Kret A.

Slovenské divadlo (Slovak Theatre)

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2010

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vol. 58

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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.

3

GOTTLIEB ANTON GALLIARTI INVENTOR. MALIARSKA VÝZDOBA KATEDRÁLY V NITRE A JEJ AUTOR

100%

Jozef M.

ARS

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2010

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vol. 43

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issue 2

178-212

EN

The paper takes a closer look at the Late Baroque remodelling of the St. Emmeram Cathedral in Nitra, commissioned by Bishop Ladislas Adam Count Erdody and executed from 1710 to 1732, and especially at its wall paintings by noted artist Gottlieb Anton Galliarti. The text and figures guide us through general historical background, architectural development of the cathedral, Galliarti's activities in Nitra and abroad and finally concentrate on the frescos in the sanctuary of the Upper Church, in the Lower Church, on altarpieces, and on painter's inspirations and his work with models.

4

OSSÓW – WROTA BITWY WARSZAWSKIEJ 1920 ROKU – PARK KULTUROWY NA HISTORYCZNYM SZLAKU

100%

Szulińska M.

Ochrona Zabytków

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2008

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issue 3

11-20

EN

'The Ossów - Gates of the Battle of Warsaw 1920' cultural park, established on 20 April 2009 to commemorate the battle waged near Warsaw in 1920, is the first example of this sort of cultural landscape protection in the voivodeship of Mazovia. The battles waged on 13-14 August 1920 in the region of the villages of Ossów and Lesniakowizna possess a symbolical dimension associated with the first during that war withdrawal of the enemy and the heroic battlefield death of Rev. Ignacy Skorupka, an army chaplain. The victorious Battle of Warsaw of 1920 was a breakthrough in the Polish-Bolshevik war of 1919-1921. Poland, which had only recently regained her independence, was envisaged by the Bolsheviks as a mere tactical target since at the time they were involved in attempts at starting a revolution in Germany and countries that emerged after the dissolution of Austro-Hungary. In 2004 the self-government of the commune of Wolomin turned to the National Heritage Board of Poland with a request to devise the protection and administration of the historical site in Ossów as well as its historical, natural and landscape assets. A study on the cultural properties of the region of the village of Ossóow and its environs, conducted in 2005, proposed a cultural park as a form of protection together with a delineation of its area and motions for the future plans of the commune. The establishment of the cultural park was inaugurated by three neighbouring communes: Wolomin, Salonika and Kobylka as well as the county of Wolomin. The outcome of these undertakings was presented at, i.a. two discussions organised by the Regional Centre for the Study and Documentation of Historical Monuments in Warsaw as part of the Conservation Fridays held at the Royal Castle in Warsaw (2007 and 2009). The participants proposed, i.a. building in the village a museum that would fulfil the function of an information-educational centre along the trail of the Battle of Warsaw of 1920, a project prepared by Nizio Design International. A cultural park and the conception of the centre were suggested for the 'Miracle on the Vistula Trail', devised by the Mazovian Regional Tourist Organisation. The cooperation programme relating to the creation of a cultural park encompassed also archaeological excavations carried out in Polakowa Gorka. Research conducted with the application of specialist geophysical apparatus ended with the discovery of two mass graves of Bolshevik soldiers and numerous preserved objects. A presentation of the results of the excavations took place in Ossów as part of the European Heritage Days 2009 educational programme at an exhibition held with the participation of the National Heritage Board of Poland.

5

Die Macht der Inspiration. 'Die Kreutzersonate' von L. N. Tolstoj als Schluessel zu Leos Janaceks 1. Streichquartett)

100%

Streibl M. D.

Hudební věda (Musicology)

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2005

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vol. 42

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issue 1

49-62

EN

Leos Janacek's String Quartet No. 1 gives its public the opportunity of speculating about its contents in numerous ways. Janacek marked the title page of its autograph 'Z podnetu L. N. Tolsteho Kreutzerovy sonaty' [Instigated by L. N. Tolstoy's Kreutzer Sonata], and, in his letter to Kamila Stoesslova, from October 15th, 1924, he noted: 'I was thinking of a poor woman, tormented, beaten, killed, such as the Russian writer Tolstoy wrote about in his work The Kreutzer Sonata.' Speculations based on these statements lead musicologists towards a general stressing of the abstract nature of the work. The aim of this article is to show that Janacek's String Quartet No. 1 is neither programmatic nor purely abstract music. To negate the non-musical background of the work is not possible. As a source of inspiration, L. N. Tolstoy's Kreutzer Sonata is not only the first existing point of research, but, considering Janacek's printed edition of the novel and its annotations, also a rich source of hidden information. It was not jealousy, as was so often believed, but marital life and the power of music which attracted Janacek. Apart from the impact of the music, its dramaturgy also concerned him. All the outcome of this research is important; it forms the base for extending the outlines of the creative process, to clarify the relation between the inspiration and the work.

6

LIBRETTO AND SONG LYRICS IN MUSICAL THEATRE

100%

Oravec P.

Slovenské divadlo (Slovak Theatre)

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2008

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vol. 56

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issue 2

182-203

EN

The author, a pedagogue at the University of Constantinus Philosopher in Nitra, is examining a modern theatre genre - the musical creation. The musical has become a fashion, a synonym of something extraordinary and worldwide, regardless of its quality. It has almost aggressively started appearing at theatre posters. This phenomenon is observable almost in the whole Europe. We will have to cope with this idea without becoming pessimistic about the fact that a traditional understanding of theatre is due to this limited. To be true, such situation is in the history netheir singular, nor new. Very typical is the worldwide flush once provoked by Brecht, later by Chekhov, or by a naked theatre fashion. The quality of a musical performance depends on many components and factors. In his study the author deals with the musical literary artwork (libretto), and with the song lyrics which compose the basic building material of this theatre genre. Knowing the musical creation worldwide (mainly in London, Vienna, Budapest), he inclines mostly to the 'world- famous' titles, and based on them he tries to define their principle pecularities and create somewhat ideal and most frequently used model of a musical libretto and song lyrics.

7

BETWEEN BOLOGNA AND KRAKOW: THE LIFE AND WORK OF THE ITALIAN PAINTER INNOCENZO MONTI (1653-1710)

100%

Zapletalova J.

Umění (Art)

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2005

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vol. 53

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issue 4

335-346

EN

The obscure Italian painter Innocenzo Monti (1653-1710) worked on the territory of several European states. In this study, Innocenzo Monti and his work are treated in the context of the Bologna school of painting of the second half of the 'seicento' and the workshop of Carlo Cignani, where Monti trained as a painter. The text considers the painter's artwork in his native Emilia, in particular Monti's large canvas for the Gesu Church in Mirandola. Duke Francesco d'Este later tried to acquire the painting for his collections in Modena. The text touches on Monti's relationship with his older colleague from Cignani's workshop, Marcantonio Franceschini; in this context, it suggests a possible answer to the question of why the painter went beyond the Alps to work for Gottfried Count Dietrichstein and the Liechtenstein family. The painter's work in Poland and Moravia is closely tied to that of the sculptor and stucco worker Baldassarro Fontana. Monti and Fontana decorated the university Church of St Anne in Krakow and the Church of the Clare Nuns at St Andrew. Their collaboration culminated in the decoration of the Premonstratensian library at Klásterni Hradisko near Olomouc, where both Italian artists left their signatures. Another joint commission in Moravia was the painting and stucco work in the refectory of the Franciscan monastery at Uherské Hradiste, where a group of four canvases depicting Franciscan saints has been preserved. The composition of the painting of St Anthony of Padua resembles that of a painting by Monti on the same theme in the Galleria Davia Bargellini in Bologna. In a broader context, the text also treats the issue of the fluctuating quality of Monti's painting output.

8

Z DZIEJÓW EWIDENCJONOWANIA ZABYTKOWYCH PARKÓW I OGRODÓW W POLSCE

100%

Wildner-Nurek I.

Ochrona Zabytków

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2007

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issue 3

87-105

EN

The diverse history of Polish gardens is centuries old. The great variety of forms, composition principles and purposes constitutes an important chapter in the history of Polish art and assigns the Polish garden a high rank in the European art of gardening. What is the reason for the need and necessity of recording historical gardens and other monuments? Registers as such are not the ultimate targets, but remain rather a means or an instrument intended for scientific or practical application. Without them it would be impossible to create a scholarly and exhaustive synthesis dealing with the history of art, including the art of gardening. Inventories of historical monuments in Poland date back to the eighteenth century (the initiative of Rev. Ksawery Zubowski), but after the loss of state independence Polish society grew increasingly aware of the historical and national value of its monuments. Official decisions led to records and first inventory regulations. Unfortunately, they did not relate to historical parks and gardens. The progress of a movement intent on the protection of historical monuments finally recognised garden premises as monuments which, in time, were included in inventories (the Central Office for Art Monument Inventories was established in 1929). Larger-scale inventories of Polish monuments of the art of gardening were conducted in the interwar period by Franciszek Krzywda-Polkowski, Oskar Sosnowski and Gerard Ciolek (Warsaw University of Technology). During the 1950s and 1960s similar inventories were entrusted to the Ministry of Culture and Art. At the same time, work at the Warsaw University of Technology was continued by Gerard Ciolek, and subsequently Witold Plapis and Longin Majdecki. Similar research on Polish gardens was pursued at the Cracow University of Technology by Tadeusz Tolwinski and Zygmunt Novak. Janusz Bogdanowski acted as the heir of their accomplishments and resumed this particular trend of research. Inventories of historical gardens initiated in 1975 are carried out up to this day. The task consists of listing all parks and gardens, including relics, regardless of pertinent information or the degree of conservation. In this manner, inventories are to reflect the actual state of the preservation of all park and garden premises across the country.

9

'THE CYCLIC TIME' AND A RELATION OF A FILM UNDERGROUND TO A SERBIAN POLITICAL ETHNO - MYTH

100%

Dudkova J.

Slovenské divadlo (Slovak Theatre)

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2006

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vol. 54

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issue 2

191-218

EN

In her analysis of Kusturica's film 'Underground', the authoress is dealing with perception of a Balkan 'spirit', which connects 'naturalism' with spontaneity and authenticity, but also with resistence, enabling to endure endless violance. The symbols of vigorousness and resistance are in 'Underground' understood like moral and ambivalent, and instead of a general Balkan spirit, are derived from the history of the Serbian guerilla rebellion. These are constantly exhausting and at the same time naturalistic labels, however not understood to be ancient in the original meaning of the word. The authoress is documenting that if Kusturica urges on certain traits as the sediments of the particular historical events, he has still not been entirely retreating from Balkanism. His vigorousness, 'boisterousness', 'naturalism' which have been until now mentioned by lots of his foreign and domestic fans, and which are in the film 'Underground' given a free passage, especially in the long scene of a wedding ceremony, are pictured by Kusturica using a demostrative irony. These features are predominantly atributs of the manners making the Balkanians traditionally 'different', for 'Europe' for the way of organizing their entertainment - ritualized in the specific ways of a fun and a relaxation. Emir Kusturica (equally with 'Underground' co-screenwriter Dusan Kovacevic) is not intending just to deny or insecure Balkan premises, but above all to consistently nuance them.

10

CONVERSATIONS. THE SHARJAH BIENNALE AND INTERNATIONAL ART RELATIONS IN THE UNITED ARAB EMIRATES

100%

Rattray M.

ARS

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2008

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vol. 41

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issue 2

307-316

EN

This essay seeks to examine questions relating to the Biennale of Sharjah and occurrences of censorship at the 2003 Biennale. Through an analysis of Okwui Enwezor's article 'The Black Box' from the Documenta XI catalogue, coupled with an examination of three works of art from the 2003 Sharjah Biennale (Philippe Terrier-Hermann's 'The Romans', Wolfgang Staehle's 'Untitled 2001', Zhu Ming's 'July 26, 2002'), the essay will examine how censorship affects the exhibition of International Art in the conservative setting of Sharjah.

11

ANGABEN ZUM LEBENSLAUF UND ZUR TÄTIGKEIT DES KUPFERSTECHERS JOHANN BLASCHKE (1770 – 1833)

100%

Papp J.

ARS

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2009

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vol. 42

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issue 2

257-278

EN

Burinist Johann Blaschke, born in Bratislava and professionally active in Vienna, contributed to a series of publications, popularizing contemporary literature together with editions of antique literature on mythology, art or history. Facts from the artist's work and life - especially those on relationship between illustrators and publishers - indicate that book illustration at the turn of the 18th and 19th centuries is relevant not only to art historians but also to those who research the book market of the epoch.

12

L'AVEAU DE LA FICTION: UNE STRATÉGIE CONTEMPORAINE. LES PARATEXTES DE SOPHIE CALLE

100%

Camart C.

ARS

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2008

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vol. 41

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issue 2

240-255

EN

Sophie Calle's literary texts are very profoundly associated with 'intimate writing', and they are fruits of various strategies as well, such as mixture of the author and the narrator, or keeping the reader in a 'pendant' position. Somewhere in between autobiography and a longing for fiction there is a vast self-fabulation, thoroughly confirming the artist's position as a writer and her authorial qualities. Sophie Calle's life thus melts into her artistic work, the creation of autobiography being an actual working method for fulfilling the artist's objectives.

13

SACRED ARCHITECTURE: BETWEEN ART AND REALITY (Architektura sakralna. Miedzy sztuka a rzeczywistoscia)

100%

Bialkiewicz A.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

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2008

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vol. 1

73-77

EN

Analysis of tasks of designing contemporary sacred architecture in view of the author's own designing experience in the field encourages an attempt at a synthetic presentation of a number of problems. After 1970, obtaining planning permission for sacred objects was much easier than it had been before in Poland, e.g. in cases when the building area did not exceed 250 m2. Such a church was then called a 'chapel'. Another range covered buildings with an area not exceeding 600 m2. Designers often tried to circumvent those regulation by designing two-storey churches with the lower storey partly sunken into the ground. It seems that the legal regulations relating to the designed church area to some extent influenced also their form. Despite its large diversity of form, the church architecture of that time did not entirely free itself from the traditional patterns. The process of church construction involved an investor, a contractor and a designer. In many cases the construction was carried out according to a do-it-yourself method, and the architect was often surprised by changes made without his consent. The actual building created under such circumstances often significantly deviated from the design as he was excluded from the very process of construction. However, it should be emphasized that these problems occurred only in the implementation of some of the sacred buildings. However, many outstanding examples of religious architecture have also been built in Poland. Since 1989, a planning permission to build a church has not required special procedures to bypass the building code, and the designer now has a much greater influence on the ultimate outcome of his work. Therefore the majority of the problems discussed herein, characteristic of church architecture of the nineteen seventies and eighties, have already passed.

14

THEATRE OF MINOA PALACE KNOSSOS OF CRETE

100%

Polak M.

Slovenské divadlo (Slovak Theatre)

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2005

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vol. 53

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issue 3

234-250

EN

Based on his personal experience the author writes about the area of Minoa palace Knossos situated on the Greek island of Crete. Through a description of several significant works of fine art dating from 2 500-1150 B.C. found preserved in palace, he is trying to find evidence of theatrical elements of that period. By summarising several works of theatre historians and available theatrical encyclopaedias, he comes to the conclusion that even though the official beginning of European theatre culture is considered to be 6th-5th century B.C., the archaeological research from the 20th century provides sufficient evidence that the beginning of the Greek theatrical culture is approximately thousand years older. He suggests that the Minoa period of the ancient Greek civilisation should be regarded as the beginning of the European theatre.

15

JESUS CHRIST AS THE DIVINE MERCY BY EUGENIUSZ KAZIMIROWSKI. THE MOST INFLUENTIAL POLISH PAINTING OF THE TWENTIETH CENTURY?

100%

Gaskell I.

ARS

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2009

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vol. 42

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issue 1

81-91

EN

Eugeniusz Kazimirowski painted the oil-painting Jesus Christ as the Divine Mercy in 1934 under the patronage of Father Michał Sopocko, who served as a confessor to Saint Maria Faustyna of the Most Blessed Sacrament and championed her mystical experiences, especially the crucial one from February 22, 1931 - a direct basis of the painting. Its devotional effectiveness - the devotion to the Divine Mercy via various congregations and orders - worldwide in the Catholic Christianity and its role in the transformations of Poland in the 20th and early 21st centuries make this painting one of the socially most influential paintings of the twentieth century.

16

The Church of Saint Paul in the District of Zawodzie in Kalisz as Seen against a Background of Romanesque Architecture

100%

Rodzinska-Chorazy T.

Modus. Prace z historii sztuki

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2003

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vol. 4

121-145

EN

The relics of the Collegiate Church of St Paul in Kalisz have been known since as early as the beginning of the 20th century. The first archaeological investigations, carried out in the 1950s and then in the 1990s, permitted a.o. its dating to the reign of Mieszko III the Old. The church is a single-aisled structure with a shallow chancel bay terminated by an apse on the east side and by a rectangular axial tower in the west facade. In the second phase of the functioning of the church a gallery was built in inside that was reached by the stairs situated in the southern part of the nave. The closest equivalent of the Kalisz church is the Collegiate Church of the Blessed Virgin Mary in Glogów, dated to about the mid-12th century. It has a tripartite arrangement of the whole, uniting along one axis a chancel with an apse, a nave. and a tower as well as a gallery with stairs located similarly as in Kalisz.The composition of mass that appears in Kalisz can be found particularly frequently in the structures of Bohemia, Moravia, Slovakia, and Hungary, and also in Germany, However, an extremely interesting element is the western church tower on a plan of a vertical rectangle, a rare arrangement in the Polish territory and outside it. It follows from a typological survey that the tower of the Collegiate Church of St Paul was probably representative of the group of westworks in Great Poland (Wielkopolska). The tower in Kalisz may have been a reduced variety of the westwork of Poznan Cathedral. It seems likely that the form of the Kalisz church combined the local Great Poland tradition of providing important royal and ducal foundations with westwork with a dominant axial tower and the model of a tripartite single-aisled church, spreading from the middle of the 12th century. As a church associated with Mieszko III the Old, the Collegiate Church of St Paul in the district of Zawodzie in Kalisz must also be regarded as a sign of the times and may testify to the founder's intention to refer to the ideological content and functional-liturgical solutions present in the great foundations of his predecessors. It is not unlikely that the formal type of the Kalisz church was repeated time and again in Romanesque architecture in the Polish lands.

17

A NEW BUILDING OF SNT - NEW ARTISTIC THINKING

100%

Mrlian R.

Slovenské divadlo (Slovak Theatre)

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2007

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vol. 55

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issue 2

151-162

EN

The author, a Slovak theatrical critic and pedagogue, participated in the negotiations on constructing a new theatre building for the Slovak National Theatre in Bratislava in the second half of 20-th century. Since, on 14th April 2007 this building was ceremonially completed, it is interesting to read his memories where he is returning to the period of considerations on the need of a new theatre space. The author is emphasizing that in the second half of 20th century in older, usually adapted theatre spaces, was impossible to use the modern technical aquisitions when producing staging. So, the effort to construct an entirely new theatre building was not only the ambition of the then social elite to build an expressive architectonic dominant of the new municipal part on the Danube bank, but above all to create the better conditions for the artistic creation.

18

BALKAN BACTERIA

100%

Beroš N.

ARS

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2008

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vol. 41

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issue 2

270-289

EN

The article focuses on the last decade of the 20th century in the Balkan region, aiming at analysing the changes in the contemporary art world within the context of transitional societies such as Croatia, Serbia, Kosovo, Slovenia and Bosnia - Herzegovina. By interpreting works of some thirty artists (e.g. Tanja Ostojic, Tomislav Gotovac, Vlasta Delimar or Marina Grzinic), the author is trying to discern the differences and specificities of the art scene caught in the turbulent decade (1990- 2000). Not surprisingly the most typical and most frequent themes of the artists in the Balkans in the nineties are constructing and reconstructing identity, body, home and history.

19

The Architecture of the Stone Tower at Stolpie near Chelm - An Outline of Research Issues

100%

Bukowska A., Graczynska M.

Modus. Prace z historii sztuki

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2005

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vol. 6

163-186

EN

A stone tower at Stolpie, located in the immediate proximity of the main route from Lublin to Chelm, a mere few metres south of the edge of the road, is incorporated into the north-eastern edge of a mound-like bank. This paper gives a brief presentation on the state of the research work aimed at reconstructing the original form, dating, and interpreting the architecture of the Stolpie tower. The tower was built of stone dressed into irregular ashlars, only the interior of the top storey being faced with fingerprint-marked brick. All the elevations of the tower are pierced with numerous openings on various levels. The tower is entered through an opening in the west wall, reached from the present level of the mound. The earliest source information about Stolpie can be found in the Halicz-Volhynian chronicle and refers to the first quarter of the 13th century. The next reference, in the 1359 document, concerns Chotko of Stolpie. In 1440 an Orthodox priest, Vavila, from the Church of Our Saviour (Spas) is mentioned in the first source reference to an Orthodox church with this dedication, located near the donjon (stolp). In turn, Jakub Susza (1864), the Uniate bishop of Chelm, gives several versions of the local oral tradition regarding the towers at Stolpie and near Chelm.The earliest studies of the Stolpie tower appeared in the first half of the 19th century. The majority of researchers consider the layout to have been homogeneous and to have functioned in one period, although considerable difficulties arise on account of the brick-faced interior on the top storey of the tower. Rappoport dates the Stolpie tower to the second half of the 13th and first half of the 14th centuries, whereas Kutylowska indicates the time bracket between the 10th and late 12th centuries, in her final conclusion dating it at the turn of the 10th and 11th centuries but abstaining from an unequivocal suggestion as to the founder of the structure. The Ukrainian scholars I.R. Mogitic and R.I. Mogitic date the tower to the end of the 12th century and point to Roman Mstislavovich as its founder. Their and other scholars' views are considered in detail. Depending on how the origins and function of the Stolpie tower are viewed, its dating ranges from the 10th to 14th centuries.Two main concepts of its formal-stylistic origins may be distinguished. Accordingly, at one pole of the present state of research is a view about a fortified tower connected with a system of defences and at the other the prevailing interpretation which emphasizes the definitely religious role of the tower and its immediate surroundings. Attempts to indicate its formal-stylistic origins are based above all on analysis of the upper storey and are limited to placing the Stołpie tower in the group of the so-called 'Volhynian-type' towers or within the general classification of centrally-planned structures with a religious function since the Early Christian period. Problems with the clear-cut definition of the type of the top-storey interior and with the reconstruction of its original form lead either to a firm conviction that it is of Eastern (Ruthenian-Byzantine or Byzantine) origin or to emphasis on its Early-Piast roots linked with Western civilization. These divergent findings underlay the ongoing research project..

20

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)

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2007

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vol. 55

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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.

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