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POSTAVENIE A KLASIFIKÁCIA DRAGU V DIELACH DRAMATICKÝCH UMENÍ

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Buch S.
Slovenské divadlo (Slovak Theatre)
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2021
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vol. 69
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issue 4
375 - 387
EN
In the history of the dramatic arts, it is a frequent phenomenon that characters of one sex are played by actors of the opposite sex. This phenomenon is found in cultures all over the world, with its roots probably lying in the spiritual practices of ancient cultures. The term drag, based on Polari language, is currently used to name this practice. In the light of the theories associated with rituals, the mask, and the concept of liminality, it can be stated that a person who is in drag is entering a liminal phase between the masculine and feminine worlds. This state allows the person to free himself/herself from gender stereotypes that limit the freedom and authenticity of personal expression. The intention of this paper is to present the historical development of drag and its function in human society and in the dramatic arts environment. The issue of drag in the dramatic arts has been mostly marginalised in scientific literature. The occasional works that have dealt with it have mostly not traced the distinct nature of individual manifestations, but have examined drag as an internally homogeneous phenomenon. Our work presents an internal classification of drag in the dramatic arts, with an ambition of better understanding the individual manifestations of drag, tracing their historical development and their socio-artistic function.
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SEVERAL REFLECTIONS ON HERITAGE OF COPEAU

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Romain M.
Slovenské divadlo (Slovak Theatre)
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2008
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vol. 56
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issue 2
136-142
EN
The authoress, a scientific worker of the 'Societe d'Histoire du Theatre' in Paris deals with the history of the French theatre of the 20th century. She is an authoress of the monography on Leon Chancerel. In her contribution she reminds a great response provoked by work of Jacques Copeau in the French and European theatre. Mainly it is his clear - cut conception purifying the stage from excessive decorativeness, aiming at simple, frank dramatic art, supporting ascetic theatre life. Using this approach Jacues Copeau was fighting against the decadent magazine theatre. The authoress is as one of the few French historians alleging also limitations of the Copeau's conception. Due to his puristic conception international stimuli were declined, which were then being applied in the European theatre - German expressionism and Russian constructivism.
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