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HASPRA'S PREPARATIONS ON HIS NITRA PERIOD AND ITS DURATION

100%
Kret A.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 1
32-39
EN
A former dramaturgist of the Slovak National Theatre drama and a workmate of Pavol Haspra deals with a professional beginning of the director in a county theatre in Nitra, where after finishing the university study at the Fine Arts University in Bratislava, he acceded to work. Being a living witness of accessing of the first generation, which was educated as the graduated, he brings his attention to the problems that were then waiting for them, after they had come to practice. In his excursion into Haspra seven years' Nitra period, A. Kret concludes: Nitra period of a director Pavol Haspra confirmed the former prognoses on his future ways: he was a talented artist with an extraordinary planimetric and stereomatric fantasy, with an inclination to a slightly stylised reflection of the world.
2
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PAVOL HASPRA AND HIS THEATRE OF PASSIONS AND EMOTIONS

80%
Matasik A.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 1
5-15
EN
A monothematic issue of the magazine the Slovak Theatre publishes the contributions which were presented at the 3rd Theatrological Conference in the cycle Today and Here held in Banská Bystrica on 9th December 2005. The conference was organized by the Cabinet of Theatre and Film of the Slovak Academy of Sciences, the Faculty of the History of Arts of the Academy of Arts, the Slovak Theatrological Society, the Association of the Slovak Theatrical Critics and Theoreticians and the Association of Philologists Self-Help with the contribution of the Minister of Culture of the Slovak Republic.The organizers formulated the topic: Pavol Haspra - Theatre of Passions and Emotions. Pavol Haspra, a theatre director, was for the period of four decades an integral part of the Slovak National Theatre drama and a significant personality of the Slovak theatrical history. The conference initiator, a theatrical critic and historian Andrej Matasik in the introductory study focuses on the characteristics of Pavol Haspra´s theatrical opinion. He observes that: It is known that by a stature, Haspra was quite short, but by his temperament and zest, and the ability to kindle others, by his eruptiveness and resourcefulness, he grew taller than his surroundings. Haspra - after acccessing to the Slovak National Theatre - became the director of mainly contemporary plays, and since he performed the substantial part of stagings in the sixties at Mala scena (The Small Stage) in Bratislava, in fact in the conditions of a chamber space where there is a close contact between an actor and a spectator, hence we can consider Haspra also the initiator and effecter of the cardinal transformation of the Slovak dramatic art in the sixties. The space of Mala scena (The Small Stage) was forcing him to ask for a maximum authenticity from the actor, since every single fraud could be easily detected by the spectator, and so deceiving by a magic of generous mis en scene, by a lofty and pathetic gesture, or a showy articulation of the text was beyond possibility. At the same time he was aware that these, very often seriously looking dramatic encounters of the antagonistic views, are just boring talks on positions, explanations of philosophical disputes, while for an eruptive explosion of an authentic emotion to happen, sometimes only a little mite is needed, other time just a neglected or tolerable impuls. This is why he was willing to painstakingly look for those naggings or ostensible reasons even where their occurence was just potential.
3
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TAJOVSKY'S WOMEN'S LAW AND HASPRA'S TAJOVSKY

80%
Knopova E.
Slovenské divadlo (Slovak Theatre)
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2005
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vol. 53
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issue 1-2
69-94
EN
The production of the recently deceased Slovak theatre and TV director Pavol Haspra is famous for containing a significant share of works of Slovak contemporary and classical drama.The authoress focuses on Haspra's productions of The Women's Law by Jozef Gregor Tajovský. She analyses three productions of the play - two TV productions from 1967 and 1987, and one drama production from 1996. Her analysis focuses especially on the interpretation differences of an identical drama piece, whereby she makes references to the transfer of the original text to a new social context.
4

MESTSKÉ DIVADLO V PREŠPORKU NA SKLONKU 19. STOROČIA A JEHO RIADITELIA EMANUEL RAUL A IGNÁCZ KRECSÁNYI

61%
Laslavíková J.
Musicologica Slovaca
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2016
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vol. 7 (33)
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issue 1
19 – 51
EN
The City Theatre in Pressburg began operation in a newly-erected building (now the historical building of the Slovak National Theatre) in 1886. The building belonged to the city, which rented it under a theatrical contract to the German and Hungarian theatre directors and their companies. The individuals in question were the German director Emanuel Raul (1843–1916) and the Hungarian director Ignácz Krecsányi (1844–1923), who were active in the City Theatre at the close of the 19th century. The city, as owner of the building, decided on the hiring of the theatre and influenced its everyday operation with stipulations. Selection of the repertoire was the responsibility of the director, who compiled a daily plan of performance based on requirements laid down in the contract, as well as the preferences of the regular audience. This was comprised of German-speaking inhabitants, a fact which is reflected clearly in the theatre’s attendance.
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