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TWO WORLDS OF DOCUMENTARY THEATRE (Dva svety dokumentarneho divadla)

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Podmakova D.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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issue 2
130-144
EN
Based on examples of contemporary Slovak documentary theatre, the author characterizes three main groups of this type of theatre. The firs group is characterized by creating a dramatic Picture using the most authentic material, that might overlap with non-fiction literature (e.g. Tiso, written and directed by Rastislav Ballek, Arena Theatre, Bratislava, 2005, M.H.L. by Slava Daubnerova, 2010, Theatre P.A.T. Prievidza and Studio 12 Bratislava). The second group is characterized by creating a play/drama with the text based on the collected materials of documentary and historical nature, such as newspaper articles and interviews with living witnesses that support the storyline (e.g. Dr. Gustav Husak by Viliam Klimacek, Arena Theatre). The third group consists of texts that through the prism of individual and collective memory recall the past, with the accent on one's own view, or memories (e.g. The Velvet by Michal Ditte, Slovak Chamber Theatre, Martin, 2009, or Communism by Viliam Klimacek, Arena Theatre, 2010). A special chapter is Russian documentary theatre. The most famous projects combine specific event captured through interviews and documentary materials (e.g. interactive production One Hour and Eighteen (Minutes) by Elena Gremina, Teatr.doc. Moscow). Another group consists of productions that 'revise' history through the prism of present-day reality, using documentary materials (contemporary film footage, speeches, songs) in confrontation with the present-day reality (e.g, Pavlik is my God by Nina Belenitskaya, Joseph Beuys Theatre and Dokumentalny Dom 'The First Cinema' Moscow on Pavlik Morozovov).
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TRANSFORMATIONS OF CONTEMPORARY THEATRE PRACTICES. A REFLECTION ON THE CREATIVE PROCESS AS RESEARCH

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Ballay M.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 3
251 – 265
EN
The study offers an outline of certain modifications of contemporary Slovak theatre culture under the influence of ongoing socio-cultural changes. The author reviews the status of contemporary theatre in society while following the ever-changing character of its individual functions. He deals with innovative trends of various directorial representatives in the context of independent culture in Slovakia. He offers a more in-depth view of the non-standard theatre practices, which connect creative process to research; documentary practices and intermedia theatre practices.
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