Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 5

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  DRAMATIC TEXT
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

DIVADELNÝ TEXT A JEHO HLASY. ÚVAHA O NIEKTORÝCH ASPEKTOCH VZŤAHU MEDZI DIVADELNÝM TEXTOM A JEHO INSCENÁCIOU

100%
Michalovič P.
Slovenské divadlo (Slovak Theatre)
|
2022
|
vol. 70
|
issue 4
317 - 330
EN
This study deals with certain aspects of the relationship between dramatic text and its staging. The dramatic text itself cannot be viewed as a kind of supra individual set of instructions left by the author in a textual form to those who decide to carry out staging and performances based on them. This is partly because the very form of the dramatic text changes, for example when a manuscript is transcribed, to a form that corresponds to the actually valid conventions for the updating transcription of a language. The purpose of the transcription is to update the original language of the dramatic text to make it comprehensible and acceptable for another audience and to enable it to function even as an autonomous literary work. Although the transcription may change the original text to the minimum, even these minimal interventions lead to a change in the essence of the dramatic text. Another factor of change is the transfer of the written text into speech, while a significant role in this transfer is played by intonation, which forms the focus of the second part of this study.
2
Content available remote

MIMESIS AND FICTION IN THE NEWEST SLOVAK DRAMA

100%
Knopova E.
Slovenské divadlo (Slovak Theatre)
|
2006
|
vol. 54
|
issue 4
568-581
EN
The authoress in her contribution deals with the general characterization of mimesis as the imitation of the empiric reality, and with the elements of fiction as the imitation of the virtual entities in the context of drama , with a space and time ( known as time and location / known as a recognized and a recognizable time and location). Subsequently the authoress tries to analyze the categories of mimesis and fiction by the means of the actual samples of plays by the latest Slovak drama authors (V. Klimacek, E.Maliti-Franova, P. Pavlac, M. Karasek and so on).
3
Content available remote

VISION IN DRAMATIC TEXT RECEPTION

100%
Institorisova D.
Slovenské divadlo (Slovak Theatre)
|
2005
|
vol. 53
|
issue 3
214-222
EN
The study deals with the rules of dramatic text reading. An inseparable part of dramatic text reading is creation of a vision which is the result of not only direct 'visualisation' of information contained in the text, but also of fantasy of the recipient. It is also the result of three outlines in which the recipient is concurrently reading the text: conventionalised, individualised and creative. Respective outlines are interactively depending on each other. The vision of happening within dramatic text always means its interpretation.
4

OBRAZ BRATISLAVY V DRAMATICKEJ TVORBE VILIAMA KLIMÁČKA

88%
Nagyová N.
Slovenská literatúra (Slovak Literature)
|
2021
|
vol. 68
|
issue 3
314 – 324
EN
The aim of the article is to outline the problem of the urban topos in dramatic writing. The analysis is conducted on two plays by Viliam Klimáček, namely his Ginsberg v Bratislave (Beat Generation 1965) [Ginsberg in Bratislava (Beat Generation 1965); 2008] and Socík, sladký socík (alkoholický sprievodca socialistickou Bratislavou) [Socialism, sweet socialism (An alcoholic guide to socialist Bratislava); 2016] both of which deal with the socialist era. The introductory part of the article concentrates on Klimáček’s personal relationship to Bratislava and on specific locations portrayed in the two plays. The section devoted to the basic theoretical foundations of the problem of space in literature and drama concentrates mainly on the structuring of the dramatic text. It addresses the specific character of such a text as well as its dual form of existence (as a written text and as a stage production) that substantially influence the problematic portrayal of the urban setting. The textual handling of the space is confronted with its stage realisation which differs from the written form of the play. The differences once again testify to the dual character of the dramatic text which is written as a literary piece, but is prototypically realised on the stage.
5
Content available remote

HIC SUNT LEONES ALEBO KTO SA BOJÍ ANTIKY

88%
Borodovčáková M.
Slovenské divadlo (Slovak Theatre)
|
2016
|
vol. 64
|
issue 2
104 – 116
EN
This study outlines the tradition of translation of ancient Greek drama in Slovakia. Most of the existing translations were made with a view to being staged by Slovak professional theatres, which had influenced their final literary form. There is a difference between translation for a stage and translation for reading purposes only. The text of a drama is an essential medium for the director as the creator of a theatre performance; as a result, it must meet the requirement of currency and the ability to communicate with the audience. An out-of-date or unsuitable translation may therefore pose a problem. The study uses excerpts from the translations of Sophocles’ Antigone and Oedipus the King to demonstrate ways of approaching the translation of such texts and the conventions that are connected with them.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.