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THE PORTRAITS OF LOSERS IN ARTHUR MILLER'S WORK (Portrety zufalych existencii v tvorbe Arthura Millera)

100%
Krenova L.
Slovenské divadlo (Slovak Theatre)
|
2010
|
vol. 58
|
issue 1
13-32
EN
The authoress perceives Arthur Miller's admission on the Czech and the Slovak stage-craft on the background of existential philosophy enhanced in the 1960s. Miller's most staged 'Death of a Salesman' (1949) and the least staged 'After the Fall' (1963), are understood to be a representative existential arch over Miller's dramatic creation. Miller's initial inspiration for the plays was derived from Jaspers, according to whom the self-creation of a Man explicates his/her existence in two ways: under extreme life circumstances (Man is confronted with himself/herself) and in communication with others. In the case of Loman, the central character of the 'Death of a Salesman', Man's existence is materialized directly, under extreme life circumstances. Here the vital code is Man's failure. However, only in a true failure, Man will experience his/her existence, thus consuming his/her option of existence. In the case of Quentin, the main protagonist of 'After the Fall', Man's existence is materialized through communication, in contact with others (mother, father, wife Louise, wife Maggie, incidental female acquaintances Felice and Holga, colleagues from his law firm). 'Progressively minded' American dramatist Arthur Miller, as referred to by socialist theatre dramaturgy, was smoothly introduced to Slovak and Czech theatrical scenes. His 'Death of a Salesman' was constantly given green light, however, his 'After the Fall', which was ideologically less usable, was staged only twice in the Slovak National Theatre in Bratislava and once by the National Theatre in Prague. Both productions were taking place in a decade of 'political thaw'. Repeatedly, the 'Death of a Salesman' was a source of blunt criticism of a socially unfair capitalist society. The authoress concludes her paper by an overview of the staging of the plays by Slovak and Czech theatres.
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HOW (NOT) TO DO STODOLA? (ON STAGING OF TWO PLAYS BY IVAN STODOLA (Ako sa (ne)dela Stodola? (k inscenaciam dvoch hier Ivana Stodolu))

86%
Kyselova E.
Slovenské divadlo (Slovak Theatre)
|
2010
|
vol. 58
|
issue 2
166-177
EN
The dramatic art of Ivan Stodola shaped and formed Slovak professional theatre. His texts provided one of the key dramaturgical bases in the process of formation of contemporary Slovak drama staging. Actually he was the first who wrote plays systematically in the period of early professionalization of Slovak theatre. On the Czech stages, the situation was different. Humble staging tradition and not always successful interpretations indicate differences not only in dramaturgical issues but also in the issues of different tastes of spectators but, ultimately, significant differences between two independent theatre cultures. Two of Stodola's plays had quite a success on the Czech stages; Tea at Mr. Senator's and Jozko Pucik and his career. Both plays have attracted attention until recently -Tea at Mr. Senator was premiered at the Estates Theatre in Prague on 18th March 2010 (Czech premiere was at Svanda Theatre in Prague in 1934). Dramaturgical selection of this play was to bring the audience a lighter and witty comedy that would point to a parallel with the current state of the society and send the actual message before the upcoming elections. On the 15th April 2010, Slovak section of the Prague Theatre in Dlouha Street performed a stage reading of the play Jozko Pucik and his career. The directorial and-dramaturgical input is principle; 'a satire on false humanism' was staged as the theatre within the theatre. The authoress of this study analyzes both productions and notes that efforts to bring a new life into the Stodola's satire have remained unfulfilled.
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