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ALTERNATIVE THEATRE AND ITS SENSATIONAL FRAGMENTS

100%
Polak M.
Slovenské divadlo (Slovak Theatre)
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2008
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vol. 56
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issue 3
294-301
EN
The author focused on that part of theatrical activities which stand in opposition to, or, which are, in fact, an open protest against the conventional theatre. Various manifestations of these activities are covered by the term of alternative theatre. These theatrical manifestations would give prominence to sensations, or the fragments of sensations, rather than to a dramatic plot. They express the inner disposition of their architects, i.e. sensations which respond to the impulses of dynamic, internally controversial, and, oft-times, brutal and vulgar reality. As a rule, they are expressed as opposition to the reality experienced, as disenchantment, defiance, apathy, helplessness, and a desperate seeking of the ways out. The author contemplates and names signs which are peculiar to the alternative theatre within the context of production practice, which makes it distinct from the conventional theatre and place it in modern, experimental and ever-seeking theatrical stream. The starting point is the characteristics and analysis of several concrete theatrical national and international activities of recent years.
2
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Przestrzenie wspólnoty Komuny Otwock

100%
Adamiszyn E.
Świat i Słowo
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2011
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vol. Świat i Słowo 2011, nr 1 (16)
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issue Świat i Słowo 2012 nr 2 (17)
131-148
EN
The Commune Otwock is a group that evolved from an anarchist group to a well-known alternative theatre. The problem of communion is essential both for the alternative culture and the alternative theatre. An individual can realize himself/herself within alternative communities by creating space for a particular lifestyle, which differs from the lifestyle of the majority. In theatre communion with a viewer is achieved by artistic means. The most important postulate of the Otwock group is widening of the space of communion in the local communities and presenting their own views. The author describes the means of expression used by the group and the way the communicational situation is created. The examples of “communicative situations” include rock concerts, a fanzin, an independent radio station, happenings, parades or theatre performances.
3
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HUDBA, ZVUK A HLUK V SÚČASNOM HUDOBNODRAMATICKOM UMENÍ

88%
Kopčáková S.
ESPES
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2013
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vol. 2
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issue 2
9 – 16
EN
The increase of noise in man’s environment is a characteristic of aural human culture of the 20th century. Its subsequent involvement in artistic culture (futurism, electroacoustic music, noise music, etc.) is a natural consequence of these processes. At its beginnings, noise, hisses, distortions, and various, originally non-musical, sounds came to be the means of expansion of potential aesthetic qualities of art. In the paper, the presence of noise elements as means of expression in the contemporary musical-dramatic genre is considered. Their aesthetic effects in alternative theatre are analysed using examples of performances and workshops at the “Academic Prešov” festival.
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