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1
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SACRUM V PRAGMATICKOM SVETE – DIVADLO V CHRÁMOVOM A PREDCHRÁMOVOM PRIESTORE A V TICHU

100%
Hlaváčová A.
Slovenské divadlo (Slovak Theatre)
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2013
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vol. 61
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issue 3
231 - 249
EN
The author of this paper examines the development of theatrical forms connected to liturgical space and the liturgical year. The author brings a testimony about a project which was started before the fall of socialism: The initiative of a group of Bratislava students staging The St. John Passion Play was not a generational theatre but a return to the discarded. The production in Bratislava’s Trinity Church was characterized by a fascinating modern dance expression presented against the background of Gregorian chant. The production was accompanied by the singing of a teachers’ choir Cantus and was shown in the Trinity Church in 1988, 1989 and 1990 and in St. Martin’s Cathedral in 1992. Then the author analyses a production by the Brno theatre. She also focuses on two projects by Slovak artists. Confronting stone and the body, Anna Sedlačková and Ľuboš Kľučár created a dance performance entitled De Profundis (27 – 29 Oct. 1992). Besides the stone statues of Viliam Loviška and Andrej Rudavský, the De Profundis production also worked with candles, water and clay. The space of the Cum Angelis production was delineated by two lines of Viliam Loviška’s peculiar polychrome and gilded angel heads which incorporated fragments of old disintegrated stone sculptures. The later work of the ensemble moved away from the theatre production principles verging on installation. It relied on integrating the sculptural principle and motion – deriving the production form from a facial mask á la Japanese Noh theatre. Anavim, which means “to the poor” in Hebrew, is a reference to Brook’s concept of a poor theatre. Similarly, Veni, the name of a music band, is actually the shortening of Veni Sancte Spiritus. From the viewpoint of dramaturgy, they were extensions of passion plays that could not be played under socialism. However, in retrospect, both “chapel projects” can be viewed as preliminary studies for outdoor passion plays under the title Passio produced a decade later on the Main Square in Bratislava. It was not meant to be a film-like realistic rendering of the passion plays. On the contrary, it can be characterized as fragmented, analytical and sculptural, with every motion representing a certain idea or movement of the heart.
2
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DIMITRIJ … ĎALŠÍ

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Hlaváčová A.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 2
126 – 141
EN
The author is opening a question of False Dmitri dramatic representation from the neglected religionist point of view. She argues against the simplification of the problem to dichotomy Latin – Byzantine (transposed to national terms as Polish – Russian) while such a reduction after the Council of Florence (1439) is almost absurd on the Slavic territory. Having introduced a subtle distinction between universal (Florentine) and local (Brest-Litovsk) Unions, she proposes to attribute it to historic characters and eventually, depending on particular drama, even to dramatic person. Arguing that the tragic conflict might have resulted from the misunderstanding of the Poles engaged in Brest-Litovsk Union (under Roman jurisdiction, 1595) and Dmitri (1605-6) being still a partisan of Florence (all byzantine-rite Christians under the jurisdiction of Constantinople), she rejects the possibility that Dmitri’s role had been purely instrumental in hands of foreign politics. Consequently, she favours Dmitri as bearer of noble truly ecumenical idea, but tragically compromised by the revelation of his false personal identity. Dmitri actually believed in possibility of ending the Time of troubles and opening Russia new horizons by liberating the Constantinople. His assassination witnesses for the limits of the role of an individual in a historical process and gives him new life in drama and on the stage. The study ends with the closer look on the most recent dramatic interpretation of Dmitri written by the Ukrainian-born dramatist V. Klim – example witnessing for the actuality of the topic.
3
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VPLYV ZAHRANIČNÝCH IMPULSOV NA ZMENU DIVADELNEJ PARADIGMY

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Hlaváčová A.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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issue 3
245 – 255
EN
The aim of this paper is a vivid capture of the paradox phenomenon: promotion of the mimicking of the Soviet example, largely on political grounds, was most massively demonstrated in the 1950s and during the “normalisation” period , which had a largely negative impact upon national culture life. However, the situation turned in the 1980s. The socio-political development in the Soviet Union ushered in reform endeavours and it opened up to outstanding culture activity. Czechoslovak power structures did not know how to react to a new situation. Fascinating regrouping in the polarisation of formal culture and dissent takes place, however, a sweeping change in the social climate and the thawing of souls appears to be a slow process. In the retrospect, the authoress probes into the issue, and attempts to analyse the reception of Soviet theatrical productions and drama texts in Slovak theatre and in art schooling of the latter half of the 1980s.
4
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BORIS GODUNOV: MUSORGSKIJ VS. PUŠKIN

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Hlaváčová A.
Slovenské divadlo (Slovak Theatre)
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2014
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vol. 62
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issue 1
49 - 68
EN
The fact that the existence of several variants of Pushkin's drama was caused by censorship often wrongly draws a parallel with Mussorgsky's opera – as if its variability was based on external factors. Dunning compared the two versions of text written by Pushkin, while Taruskin the two existing opera versions. The author of this study has decided to analyse Mussorgsky's Boris Godunov in relation to Pushkin's text corpus connected with the topic. The analysis is based on the historical and the study of religions approaches. What obstacles did Mussorgsky have to overcome when adapting Pushkin for opera genre? As the ideological polarization between supporters and opponents to the union of churches could be expressed just verbally, composer had no choice but transpose historical tensions into the speech of music – into the ritual opposition Latin/Byzantine. Through the enigmatic character of Rangoni, however, Mussorgsky stays true to Pushkin's philosophy of history (so convincingly expressed in dramatic character of Dimitri) and refers to the historical paradigm, which offers a real alternative to unification of Christians: The Union of Florence, where the communion with the bishop of Rome did not contradict the adherence to the Byzantine rite.
5
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HVIEZDONOSCI - OBRAZ CUDZINCA V ĽUDOVOM DIVADLE A PREMENY TROJKRÁĽOVEJ TÉMY

100%
Hlaváčová A.
Slovenské divadlo (Slovak Theatre)
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2013
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vol. 61
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issue 4
370 - 381
EN
The author examines the issue of Twelfth Night theatrical idiom in a broad cultural context. She looks at its origins in the Christian feast of Epiphany, as well as on integration of more archaic elements of folk theatre into the Twelfth Night after Kračún (winter solstice). She conceives this idiom as an open to racial, religious and cultural presentation of otherness, as well as a situational model for the projection of specific historical events - as illustrated by the example of staging paintings from the 15th century. The central part of the study draws on two major interpretive shifts, first analysing fragment from Ballek’s staging performance “Tiso” in traditional space of the theatre, second an itinerant theatrical activities of modern carolling performance “The Good News”, seen as a new theatrical phenomenon in terms of cultural and social functions and characterized by its strong territorial expansion.
6
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HRY O STAROBE AKO ESENCIA DIVADLA NÓ

100%
Hlaváčová A.
Slovenské divadlo (Slovak Theatre)
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2013
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vol. 61
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issue 2
123 - 134
EN
The study examines the issue of aging as reflected in the repertoire of Noh theatre. The analysis of the “old women plays” is based on the aesthetic concept of beauty of old age (rojaku) as particularly rare form of vanishing. Another question raised in the study is the beauty of performance of an aging actor. The author of this study applies conceptual approach to explain the fact that the theme of old poet stands in the centre of actually three of the five plays on her. The by-product of the study is the revelation of morphological proximity of two plays, Sumidagawa and Sotoba-Komachi, which may have an impact on dating and clarification of the authorship.
7
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HISTORICKÝ ZÁBER PUŠKINOVEJ “DIMITRIÁDY”. OD PANOVANIA VASILIJA II. TEMNÉHO PO TEMNÉ ČASY SMUTY

100%
Hlaváčová A.
Slovenské divadlo (Slovak Theatre)
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2014
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vol. 62
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issue 2
176 - 187
EN
In his drama Boris Godunov, Pushkin did not work solely on the Time of Troubles, but having chosen events that happened around 1600 he opened up the older issues that shaped them. Namely this concerns the polarization that occurred after the Council of Florence (1439). Although this council confirmed cultural plurality and recognized both Latin and Byzantine ritual practices and wordings of the Creed as valid, it was rejected during the reign of Grand Prince of Moscow Vasily II, the Blind. Dmitry, a pretender to the throne of Moscow, wished to replace the seclusionist image of Russia as the last bastion of Christendom by his messianic vision of unifying Christendom and liberating Constantinople. The study points out to the fact that the word Eastern being replaced by the word Northern. The reason of this modification was Pushkin’s effort to be as historically accurate as possible. We should also acknowledge Pushkin’s evolution as a historian between 1825 and 1831. Such precision implies that in 1831 he had a deeper consciousness of the different histories of the Greek and Slavic parts of Byzantine Christendom. Moreover, by introducing an unusual adjective instead of the traditional opposition of Eastern–Western, Pushkin might have included both Poles and Russians in the term Northern Church. In Pushkin’s understanding, Dmitry the Pretender is clearly a representative of a third (Uniat) tendency. Dimitry’s position is not purely defensive if we consider his plan to liberate the city of Constantinople. He has the intention to do so as he is animated by the idea of the Union of Florence, persisting in his native Galicia and among Hungarian Uniats – remote both from Moscow and Rome. The tragic conflict might have also resulted from the misunderstanding around 1600 between the Poles engaged in the local Brest-Litovsk Union (under Roman jurisdiction) and Dmitry, who was still a partisan of Florence (all Byzantine-rite Christians under the jurisdiction of Constantinople). Therefore, Dmitry clearly stands for a more pluralistic cultural concept of Christendom.
8
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GODUNOVSKÉ ÚVAHY. MOŽNOSTI INSCENOVANIA HISTORICKEJ DRÁMY

100%
Hlaváčová A.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 3
287 - 304
EN
The aim of the present paper, written after the 19th Pushkin festival in Pskov, is to explore Pushkin’s drama Boris Godunov that had never been staged despite its importance and attractiveness for Slovak culture and history. The author tries to prove her statement by analysing Pushkin’s play from the perspective of religious history. She shows that the problem is usually simplified to the struggle of Latin/byzantine, resp. Polish/ Russian conflict, omitting other possibilities. In accordance with Pushkin’s understanding of history, she sees the pretender Dmitri (Otrepiev) as a representative of the third – unionist – tendency. By founding the Moscow patriarchate (1589), Boris Godunov accomplished the process started by the refusal of the Union of Florence by Vasili II., the Blind. Reaction to it had been the local Brest-Litovsk Union (1595) changing Constantinople jurisdiction for that of Rome – thus, inevitably strengthening the Latin cultural influence over the byzantine Christendom. But Dmitri’s unionism is not purely defensive if we consider his plan to liberate the city of Constantinople. Classifying Dmitri´s tragic position in history as both utopian and visionary, the author draws attention to the last image of Pushkin´s drama where we encounter Dmitri quietly sleeping – and with him the idea of Florence. Faithfull to history, Pushkin never directly confronts the antagonist heroes of his play Boris and Dmitri, as we could expect from the title of drama, but he weights their positions employing an extremely radical symmetry of situations to express the archetypal positions of Russian society: nationalist and universalist. Drama is composed of suggestive scenes but at the same time, in its composition remains impartial and so its significance lay in the vibration of the question posed. Consequently, Pushkin’s compassion for Godunov’s tragic death, yet at the same time overt sympathy to Dmitri, had not been staged for reasons of ideology and the lack of general historical knowledge, respectively.
9

Introduction:Image in film and theatre

100%
Hlaváčová A.
Human Affairs
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2013
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vol. 23
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issue 1
3-6
10

Subtle mise-en-scènes of the Middle Ages

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Hlaváčová A.
Human Affairs
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2013
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vol. 23
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issue 1
40-55
EN
In this paper the author compares the concept of a Noh play, Matsukaze, with a Slovak altar painting from Košice Cathedral. The article uses Japanese Noh, where stage continuity has been preserved up until the present day, to reconstruct European medieval stage practices reflected in 15th century painting. Referring to the platonic tradition, the second speech represents a corrective to the first, thus legitimizing a sense of passion in the process leading to catharsis, or enlightenment.
11

On Japanese drama

50%
Hlaváčová A.
Human Affairs
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2013
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vol. 23
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issue 1
105-107
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