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1
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FESTIVAL D’AVIGNON – A SHARED CULTURAL EXPERIENCE AS A WAY FORWARD

100%
Knopová E.
Slovenské divadlo (Slovak Theatre)
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2022
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vol. 70
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issue 3
296 – 311
EN
This article is a reflection on the 76th edition of the Festival d’Avignon. It provides a brief introduction to the issue of festival in France and presents the research conducted in this field in relation to theatre audiences in the past three years. It also includes shorter reflections on productions by international theatre makers that the author had the opportunity to see at the festival. It analyses the context in which these productions are presented to the public in the festival programme, in dramaturgical and thematic lines (for example, the themes of power, manipulation, sacrifice, defiance of fate, emotions that bind people together or make them go insane), and it also highlights the return of the theatre makers to the basic means of theatre expression instead of complex effects and technologies. There is an imbalance stemming from this: often, productions have an epic and storytelling non-dramatic basis, but their stage form goes back to a theatre of simple and effective images that are based on symbolic theatre signs and acting action. The Festival d’Avignon adheres to the concept of storytelling with initiatory potential and thus can engage theatrically in a better real world. In 2022, it was a post-pandemic challenge for both the theatre and society.
2
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CASUISTRY OF DIE KLEINBÜRGERHOCHZEIT (A RESPECTABLE WEDDING) BY BERTOLT BRECHT IN SLOVAK THEATRE: A STRUGGLE FOR VALUES

100%
Knopová E.
Slovenské divadlo (Slovak Theatre)
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2021
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vol. 69
|
issue 3
229 – 247
EN
The study explores the one-act play Die Kleinbürgerhochzeit [A Respectable Wedding] by Bertolt Brecht and its productions in Slovak professional theatre. The authoress elaborates on expert reflection and viewers’ reception of key productions from the perspective of Brecht’s requirements of theatre, which should be entertaining and informative at the same time. The first staging of Die Kleinbürgerhochzeit under Ivan Krajíček’s direction in 1978 created the basic comparative and evaluative basis for future stage adaptations of the one-act play. The study deliberates the production sequence through a lens of casuistry: individual productions represent how the creative professionals communicated forms of appropriate and inappropriate behaviour and declining social morality. They moved from the critique of the petty bourgeois class to capturing an entire modern society in which values are absent. As in other European countries, Brecht became the author through whom the struggle for values was fought in Slovakia. It was the last performance of Die Kleinbürgerhochzeit (Slovenské národné divadlo – Slovak National Theatre, abbr. SND, 2013, directed by Diego de Brea) that provoked controversial social reactions and brought about an interesting shift in expert reflection – from the evaluation of the artwork, the interest of critics and creators shifted to the evaluation of the audience (lack of orientation in art and taste)
3
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THEATRE IN THE CONTEXT OF POVERTY, POVERTY IN THE CONTEXT OF THEATRE. THE ISSUE OF POVERTY AND SOCIAL EXCLUSION DEMONSTRATED ON PSOTA [POVERTY], PRODUCTION OF PÔTOŇ THEATRE

100%
Knopová E.
Slovenské divadlo (Slovak Theatre)
|
2016
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vol. 64
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issue 3
260 – 280
EN
Pôtoň Theatre started out as an amateur ensemble, but over time, it has evolved into an independent professional theatre. Right from the outset, it has been operating in Levice region, in a nationally and denominationally mixed territory, rich in turning points in history and also in constant social changes which have had a profound impact upon the poetics of its theatre professionals and on its crucial themes. The ramifications of various reprisal measures (for instance, the so-called Beneš decrees) and the 20th century transformation processes (new stratification of society and a marked weakening of the farming life or centrally managed industrial life in the region after 1989) have dramatically and permanently changed the fates of the inhabitations of the region and their ordinary lives. Documentary-oriented form of the theatre with a distinct social message which is shaped in the process of own field research, has become a unique method of production of Pôtoň Theatre largely thanks to the environment, in which it is based.
4
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BERTOLT BRECHT V SLOVENSKOM DIVADLE V ROKOCH 1975 – 1985

100%
Knopová E.
Slovenské divadlo (Slovak Theatre)
|
2020
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vol. 68
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issue 2
121 – 145
EN
The study focuses on the productions of Bertolt Brecht’s plays in Slovak drama theatre between 1975 and 1985. It sheds light on Brecht’s views and his demands made on epic theatre. The study also presents a fundamental view of his aesthetics and poetics of (dialectic) theatre and drama. Timewise, it links up with an older study by Martin Porubjak published in Slovenské divadlo (Slovak Theatre) in 1975 which focused on the 1947 – 1974 period. The authoress elaborates on another decade of the production tradition of Brecht’s plays in Slovak professional theatre. She makes a point that despite an ever-growing frequency of the staging of Brecht’s plays, there are only exceptional cases when Slovak theatre professionals managed to comprehensively capture Brecht’s creation, such as, for instance, in the production of Muž ako muž/A Man’s a Man (directed by Stanislav Párnický, 1975), Malomeštiakova svadba/A Respectable Wedding directed by Ivan Krajíček, 1978), or Život Galileiho/The Life of Galileo (directed by Ivan Petrovický, 1979). Following entertaining, satirical, and socio-critical interpretations, so typical of the decade in question, it was not until the latter half of the 1980s, when staged productions captured the feeling of an entire (totalitarian) epoch and heralded an inevitable toppling of communist forces, while making it clear that positive heroes were no longer attractive, as they had been weakening our vigilance for many years, for instance, Dobrý človek zo Sečuanu/The Good Person of Szechwan (directed by Vladimír Strnisko, 1986) and Baal (directed by Roman Polák, 1989).
5
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REFLEXIA EURÓPSKYCH HODNÔT V SÚČASNOM SLOVENSKOM DIVADLE

100%
Knopová E.
Slovenské divadlo (Slovak Theatre)
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2019
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vol. 67
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issue 2
105 – 128
EN
The study deals with the identification of a representative sample of topics that have entered the artistic and social discourse through production work in Slovak repertoire theatres over the last three years (2016 – 2018). It gives them an implicit point of view from the perspective of thematic dramaturgy and so-called post-dramaturgy of feelings, as well as from the perspective of European values recorded in current sociological surveys. The author, by comparing the results of the European Values Study, the goals and values represented by the European Union as a community and the topics raised by the Slovak theatre (the so-called established and repertoire theatres), tries to establish whether or not and if so – how, our theatre communicates through the reflection of the themes and their interpretation with the attitudes of Slovak and European citizens. For example on the issues such as identity, family, threat, tolerance, Islamization of the old continent, protection of democracy, but also legitimization of traditional values liberalisation.
6
Content available remote

THEME OF “NEW LOST GENERATION” IN THE PRODUCTION OF PREŠOV NATIONAL THEATRE

100%
Knopová E.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 3
229 – 250
EN
The author elucidates the concepts of generations and generational affiliation, while focusing on various names and characteristics referring to a group of young people born during the 1980s and early 1990s. She introduces Generation Y, also called Millennials, and gives a short characteristic of a generation referred to as the Lost Generation, the Set-aside Generation, the Scarred Generation. She captures the external manifestations of the generation together with inner mechanisms and motives resulting in these manifestations. Using the example of Prešov National Theatre (PND) and its production, she introduces a new concept referred to as a “New Lost Generation”. The author endeavours to define it in Slovak context through the partial analyses of the plays included in Prešovská trilógia (Single radicals (2013), Kindervajco (2015), Good place to die (2015).
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