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REAKCIE SLOVENSKEJ KULTÚRNEJ OBCE NA SOVIETSKU KAMPAŇ PROTI TZV. FORMALIZMU V UMENÍ MEDZI ROKMI 1936 – 1938

100%
Pavčík F.
Historický časopis (Historical Journal)
|
2019
|
vol. 67
|
issue 1
103 - 125
EN
The study focuses on the reactions of the Slovak cultural community to the Soviet campaign against so-called formalism in the arts between the years 1936 and 1938. The paper analyses public reactions to the fabricated political trials and the subsequent persecutions and wide-ranging arrests of Soviet artists and intellectuals in the Slovak cultural journals. While the discussions among communist and Ľudák intellectuals about Stalin ́s terror in the thirties have been the subjects of several historical studies, the opinions of Slovak liberal and democratic writers and intellectuals are barely known. Many of these writers shared communist ideas about the liberalization and democratization of the Soviet Union, although this cannot be completely generalized and depends on specific authors. The study wants to emphasize that the illusions and unrealistic ideas remained among them during the whole period of the thirties and also after the Second World War during the last part of the Stalin epoch.
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MILOŠ KARÁSEK – ČLOVEK MANIFESTOV

75%
Mistrík M.
Slovenské divadlo (Slovak Theatre)
|
2011
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vol. 59
|
issue 3
218 – 234
EN
Miloš Karásek is a Slovak artist active in several fields of arts, i.e. in stage design and stage direction, drama production, and also in painting and sculpture. He is the author of several manifestos, which are deliberately provocative and frame the various stages of his creation: theatre production in Prešov, Trnava and Bratislava (Stoka Theatre Company), parallel creation of mythical bronze statues, the so-called post theatre, which was a project of rhythmycising the sending of postal envelopes, with the climax being an experimental theatre performance, and dramatic creation for his own theatrical productions. One of his plays – Život na mieru (Customised Life), staged by Alexander Duchnovič Theatre in Prešov, under Karásek’s direction and with his stage design, may be regarded as a unique form of a manifesto, in which his ambition to be ahistorical, hedonistic, and sceptical is declared.
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