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INTEGRATION OF TRADITIONAL PUPPETRY IN CONTEMPORARY THEATRE AND THE 'PUPPETNESS' IN A MODERN THEATRE (Integracia tradicneho babkarstva v sucasnom divadle a babkovost v modernom divadle)

100%

Hledikova-Polivkova I.

Slovenské divadlo (Slovak Theatre)

2010

vol. 58

issue 2

132-138

Puppetry is usually identified with the old-fashioned idea of puppet theatre as the imitation of classical drama or opera theatre. This convention was topical in the 17th - 19 century, with the dominance of marionette theatre in baroque setting in the countries of Central and Western Europe. Such model of theatre was definitely outdated in the early 20th century, but the stereotype has remained. Another stereotype that is still kept alive is that especially children are target audience of puppet theatre. History reveals that puppets and later puppet theatre were developed in different historical contexts and children began to be the target audience in Germany only in the 19th century. These two stereotypes held back its development. At the end of last year, the authoress spoke on modern trends in European puppet theatre and giving the examples of Janos Palyi or Tomas Dvorak and documented the efficiency of combining modern contents with the citations from puppet traditions at the International Conference of Stage Animation hosted by the University of Tampere in cooperation with the Commission for the Research of Puppet Theatre UNIMA and The Centre for Research as Practice in Theatre in Tampere. For the authoress is Eduardo de Paiva Souza (Dudo Paiva) an example that shows the viability and inspiration of modern thinking and brings together animation with the distinct visual characteristics of movement while using the dramatic methods in the environment of puppet theatre. The Austrian dance productions of Vivisector by Klaus Obermaier (direction, music, video) and Chris Haring (choreography) performed by four dancers was another memorable, inspiring and provocative experience in the field of puppetry. Fascinating staging which combines dance and computer animation screened on the bodies of the dancers. The form of production and its moral message that questions the affects of virtual world on one's life was a fascinating experience, which showed a futuristic combination of physical and virtual presence and left a feeling of uneasiness.

DVE STATE O MODERNOM DRAMATICKOM UMENÍ (VHV, IVAN LILGE LYSECKÝ)

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Hučková D.

Slovenská literatúra (Slovak Literature)

2016

vol. 63

issue 6

454 – 467

Although the cultural life of Slovak communities found in the territory of Hungarian Lower land quite long lacked a direct contact with dramatic culture, at the turn of the 1910s theatre and dramatic art was integral part of Slovak-language culture in Vojvodina. Theoretical reflection on modern dramatic art developed, too, which can be proven by two articles published in Národnie noviny in 1914. Both of the authors had more or less direct links with the Slovak-language Lower-land environment. Vladimír Hurban Vladimírov (1884 – 1950) from Stará Pazova, nowadays regarded as the most significant Lower-land playwright, focused in his lecture O dramatickom umení (On Dramatic Art, Národnie noviny, 18 July 1914) on the basic principles of dramatic art being applied from the earliest times to present, which he had derived from contemporary German theatre studies. His paper received an immediate response from Ivan Lilge-Lysecký (1886 - 1918), working in Báčki Petrovac for some time, whose article Dramatické umenie (Dramatic art, Národnie noviny, 30 July 1914, 4 August 1914) was intentionally specialized in modern dramatics – in this respect Lilge was the first Slovak to inform about so-called intimate theatre. Both of the papers show the contemporary - yet unaffected by war - thinking on the form and character of dramatic art, which on the one hand grew against a background of analytically oriented Naturalism and Realism, and, on the other hand, it placed weight on synthetic expression, symbol, stylistic features and a new way of depicting intimacy. At the same time, they demonstrate that modernists´ attempts were not merely poetic and prosaic, but they were also made in the area of drama, moreover they occurred in the most modern form and a close connection with European contemporary tendencies and trends.

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1 Slovenská literatúra (Slovak Literature)

1 Slovenské divadlo (Slovak Theatre)

1 Hledikova-Polivkova I.

1 Hučková D.

1 2016

1 2010

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INTEGRATION OF TRADITIONAL PUPPETRY IN CONTEMPORARY THEATRE AND THE 'PUPPETNESS' IN A MODERN THEATRE (Integracia tradicneho babkarstva v sucasnom divadle a babkovost v modernom divadle)

DVE STATE O MODERNOM DRAMATICKOM UMENÍ (VHV, IVAN LILGE LYSECKÝ)