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DIVADLO Z PASÁŽE – (UMELECKÉ) HODNOTY A (SPOLOČENSKÝ) ZISK

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Knopová E.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 4
391 - 407
EN
Today, City Theatre - Theatre from the Passage can be regarded as a professional theatre organization, which is the first and the only of its kind in Slovakia, working with people with mental disabilities (diagnosed with Down syndrome). Now, it is profiled as a community theatre, with the stable artistic and administrative bodies, prepares new productions almost every year that are included into the repertoire and staged regularly. Their performances are seen on the domestic scene in the City Theatre - Theatre from the Passage, but also on numerous tours abroad. In Banská Bystrica, it operates its 17th theatre season and features performances with not just authentic artistic statement but with a strong social dimension. During its existence, the theatre has expanded from an amateur ensemble with irregular operations led by volunteer enthusiasts to the art organization with a professional background. The theatre interconnects cultural, artistic and social fields in its activities. It employs 14 mentally handicapped full-time actors and 15 additional staff working in three closely related organizations - the Theatre from the Passage, Day Unit and Sheltered Housing - securing assistance, educational, artistic and operational needs. They intensely link their own artistic production to internal life of the theatre as well as to the personalities of individual actors. The influence of the theatre in the social context of today shows broader than just therapeutic meanings or functions. The theatre develops its activities in multiple directions and it moves towards the other disadvantaged groups as well as the general public.
2

MESTSKÉ DIVADLO V PREŠPORKU V KONTEXTE VÝVOJA MESTSKÝCH DIVADIEL V STREDNEJ EURÓPE V DRUHEJ POLOVICI 19. STOROČIA

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Laslavíková J.
Historický časopis (Historical Journal)
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2019
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vol. 67
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issue 2
241 - 263
EN
The study considers the origin of the City theatre in Pressburg at the end of the 19th century in relation to the cultural history of the city. The circumstances of the building of a new theatre by the well-known pair of architects Ferdinand Fellner jun. and Hermann Gottfried Helmer demonstrate the political and social situation in the city, which wanted to maintain a German character, while also satisfying the demand for Hungarian theatre from Hungarian members of elite urban societies. Thus, the building of the new theatre was closely connected with an effort to renew the cultural memory of the city and present its rich past using new media of cultural transfer, but it was also an instrument for the promotion of political interests.
3

MESTSKÉ DIVADLO V PREŠPORKU NA SKLONKU 19. STOROČIA A JEHO RIADITELIA EMANUEL RAUL A IGNÁCZ KRECSÁNYI

75%
Laslavíková J.
Musicologica Slovaca
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2016
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vol. 7 (33)
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issue 1
19 – 51
EN
The City Theatre in Pressburg began operation in a newly-erected building (now the historical building of the Slovak National Theatre) in 1886. The building belonged to the city, which rented it under a theatrical contract to the German and Hungarian theatre directors and their companies. The individuals in question were the German director Emanuel Raul (1843–1916) and the Hungarian director Ignácz Krecsányi (1844–1923), who were active in the City Theatre at the close of the 19th century. The city, as owner of the building, decided on the hiring of the theatre and influenced its everyday operation with stipulations. Selection of the repertoire was the responsibility of the director, who compiled a daily plan of performance based on requirements laid down in the contract, as well as the preferences of the regular audience. This was comprised of German-speaking inhabitants, a fact which is reflected clearly in the theatre’s attendance.
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