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POSTAVA MILANA RASTISLAVA ŠTEFÁNIKA V TELEVÍZNEJ A ROZHLASOVEJ TVORBE

100%
Inštitorisová D.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 4
416 – 427
EN
This study deals with television and radio artistic, documentary, and investigative programmes whose thematic focus is the historical figure of Milan Rastislav Štefánik. The analysis examines television and radio recordings from the archives of RTVS, the Slovak Film Institute in Bratislava, and two documentary films produced by the company Kanimex. It focuses on the form of their artistic treatment as well as representation of the personality of Štefánik. In its conclusion, the study summarizes findings about the manner of interpretation of his personality in a model of an audio-visual and audial historical figure.
2
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RUSKÉ DENNÍKY AKO INTERSEMIOTICKÝ PREKLAD

100%
Inštitorisová D.
Slovenské divadlo (Slovak Theatre)
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2020
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vol. 68
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issue 2
185 – 197
EN
The paper deals with the issue of using translation strategies in creating types of recipient interpretations. In the introductory parts, the authoress covers the general characterisation of understanding the issue of translation in theatrical art. In general, it also deals with the issue of poly-textuality of a theatrical work and a permanent performative semantic or expressive openness of a dramatic/production text vis-à-vis the theme in question. By making an historical digression and via the current status of translation, especially in relation to theatrical/dramatic art, it gives more space to Aristotle, the Russian linguist Roman Osipovich Jakobson, the Slovak theatrologist Peter Karvaš, and to the literary scholar Anton Popovič. The reason is to be sought in the oftentimes fundamental role of these personalities in understanding inter-semiotic translation and the possibility of applying the outcomes of their research to theatrical/dramatic art. The paper concludes with an analysis of the semantic shifts in the production Ruské denníky/Russian Diaries (Slovak National Theatre, 2019, directed by Roman Polák) according to the semiotic classification of the types of translations by Roman Jakobson.
3
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ŠTÚR V DIVADELNÝCH INSCENÁCIÁCH V ROKU ĽUDOVÍTA ŠTÚRA

100%
Inštitorisová D.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
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issue 1
36 – 50
EN
This study provides an analysis of manners of staging of the theatre plays which focus on the personality of Ľudovít Štúr and which were premiered in Slovak professional theatres in 2015. Most of them were dramas which very often combined with elements of theatre of poetry or theatre of documentary. A few were theatre shows with elements of pantomime and puppet theatre or scene series. No operas, ballets, musicals or pure puppet shows were produced. The analysis focuses on seven productions which premiered in the year of Štúr’s anniversary.
4
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RENESANČNÉ MOTÍVY V SHAKESPEAROVSKÝCH SCÉNOGRAFIÁCH JOZEFA CILLERA

100%
Inštitorisová D.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 1
22 – 31
EN
Employing a comparative method, the present study explores the Renaissance expression of Jozef Ciller’s Shakespearean scenographies. Based on an analysis of preserved archival material (scenographic proposals, photographs from productions, video recordings, reviews, etc.) and personal communication with Jozef Ciller, the author examines how he transposed general features of European Renaissance (visual arts, architecture) into individual scenographic solutions. The author’s analysis also aims to identify how Ciller worked with the architecture and scenography of Elizabethan theatre Renaissance and observe his work with Renaissance elements depending on whether a scenography was meant for indoors or outdoors. The author concludes that Jozef Ciller employs Renaissance elements as motifs to preserve the awareness of man’s Renaissance spirit and greatness.
5
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AUTOBIOGRAFICKOSŤ VÝRAZU. MICHAIL AFANASIEVIČ BULGAKOV: DIVADELNÝ ROMÁN – MEDZI ŽIVOTOM, ROMÁNOM A DIVADLOM

100%
Inštitorisová D.
Slovenské divadlo (Slovak Theatre)
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2021
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vol. 69
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issue 1
66 – 82
EN
The study contemplates autobiographical expression as an aesthetic and artistic category. In the first, theoretical part, the authoress gives a general characteristics and definition of the essential features of autobiographicality. She elucidates them in terms of the relationship between the text and the context along four basic lines of communication of a possible development of the understanding of the language of an artistic text as autobiographical. Specifically, it is the author's genesis, the genesis of reflection, the genesis of tradition, and the genesis (analysis) of a period of time in question. In the second, pragmatic part, theoretical knowledge is applied and used in the whole communication situation of a particular theatrical work: in a production of the dramatisation of Theatrical Novel by Mikhail Afanasievich Bulgakov, which was staged by the Drama Company of the Slovak National Theatre in 2020. Despite the fact that Bulgakov’s work is regarded as a typical autobiographical novel by both the Slovak and international communities of experts, the recipient does not necessarily have to understand the production as being autobiographical.
6
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SCÉNICKÝ DIZAJN A VIZUÁLNA KOMUNIKÁCIA. OD UMENIA K MARKETING

100%
Inštitorisová D.
Slovenské divadlo (Slovak Theatre)
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2022
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vol. 70
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issue 1
91 - 104
EN
The study explores the issues of theoretical and pragmatic thinking about scenic design, its means and practices. From a geographical point of view, the topic is examined mainly in the Slovak-Czech context and from a temporal point of view it covers mainly the last two decades. The basis of the analysis of the understanding of the concept of scenic design is a reflection on theoretical and partly artistic contexts that deal with dramatic, primarily theatrical works. The chosen examples represent structuralist, formalist, semantic, semiotic, scenological, architectural, design and marketing interpretations of the issue. The study also highlights those aspects of the traditional understanding of scenic design as scenography that have led to a major reception turn in recent decades. Within it, its non-artistic qualities have also been pointed out. The study works with comparative, analytical, synthesising and intersemiotic methods.
7
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HERECKÁ TVORBA JÁNA KOŽUCHA V BÁBKOVOM DIVADLE V BANSKEJ BYSTRICI

100%
Inštitorisová D.
Slovenské divadlo (Slovak Theatre)
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2023
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vol. 71
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issue 2
198 – 213
EN
In a chronological order and in an analytical and poetological way, this study discusses the activities of the theatre actor Ján Kožuch, whose extraordinary artistic achievements are tied especially to the puppet theatre in Banská Bystrica, besides the Slovak Chamber Theatre (1981 – 2022, in 2003 renamed as the Theatre of the Slovak National Uprising in Martin). The method the study builds on is mainly a reconstruction of the staged characters, through which semantic and expressive ideas are formed of them. It also uses analytical and synthesizing methods. In accordance with the theoretical work Kapitoly o hereckom umení [Chapters on the Art of Acting] written by the Slovak theatrologist and theoretician of the art of acting, Miloš Mistrík, the aim of the author is to characterize the type and the range of Kožuch’s means of expression in acting in the puppet theatre in Banská Bystrica and to analyse the way he works with these.
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