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NICE OTHER: THE SLOVAK IDENTITY IN CZECH FILM AFTER YEAR 1993 (Mily iny: slovenska identita v ceskom filme po roku 1993)

100%
Dudkova J.
Slovenské divadlo (Slovak Theatre)
|
2009
|
vol. 57
|
issue 1
11-23
EN
The representation of Slovak is nearly connected by finding available pictures and national identity of ourselves in Czech film. View of Slovak like a lovable, but most social, culture and economically worse, is the important support component of own national self-confidence. The authoress describes basic trends in representation of Slovak in Czech film in last years, including wider ambit of non explicative 'too Slovak' characters, which are played by actors from Slovakia. She is interested in explicit and implicit indicating of 'too Slovak' concept, from what this concept (seen and cultivated by actual moving picture in Czech Republic) consists of and what are the strategies of its innovation, debugging, even revaluation.
2
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MACHATA'S LEAVE FOR DESERT .

100%
Cavojski L.
Slovenské divadlo (Slovak Theatre)
|
2008
|
vol. 56
|
issue 1
3-11
EN
A prominent historian of the Slovak theatre is commemorating by his study a significant life jubilee of one of the excellent Slovak theatre, film and radio actor, Karol Machata. He is summarizing his artistic creation since his beginnings in the theatre of Martin, where among others he had played the main role in Mahen's drama 'Janosik' and by his extraordinary dramatic talent helped in discovering a classic play by Jan Holly Gelo Sebechlebsky in the premises of a modern theatre. After he had come to a representative drama theatre of The Slovak National Theatre, he co-participated in work with directors Karol Zachar, Jozef Budsky, Pavol Haspra and others, on tens of stagings which belong to the best class of theatre performances - from Goldoni 'The Fan', through 'Merry Wives of Windsor' by W. Shakespeare, Chekhov's 'Ivanov' up to 'King Lear'. Machata's characters have always been typical in excellently worked out vocal performance, he was able to create vivid individuals out of supporting roles which thus have become centred in spectators' perception. His last theatre character was Creon in Jeffer's version of an antique 'Medea' (1966). Creon is at the end of Machata's creations. After latest first night he stayed three more seasons in the theatre but has not got a another role since then.
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