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1

The reflection of negative social phenomena in contemporary opera practice

100%
Mojžišová M.
Human Affairs
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2013
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vol. 23
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issue 1
66-74
EN
There are two approaches that dominate contemporary opera performances. The first may be characterised as producing a subtle, aesthetic and stylistic means of expression. The second runs up visual, interpretation and content means to their maximum expressivity and the audience is exposed to violence, sex and experience disgust. This paper analyses specific productions by renowned European theatre and opera directors, in order to shed light on the way in which opera directors cope with the threat of terrorism, sexual violence, and the impact of the mass media upon the moral belief system of modern man. Within the context of the bold productions of European theatre-makers Slovak opera theatre seems conservative, gravitating towards the aesthetic aspect of opera.
2
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ZAHRANIČNÍ REŽISÉRI V OPERE SLOVENSKÉHO NÁRODNÉHO DIVADLA

100%
Mojžišová M.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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issue 3
256 – 271
EN
The fast development of media opened the borders of the contemporary opera world. However, not long ago the Slovak opera functioned without direct contacts with the foreign theatre trends. During the four decades after the Czechoslovak coup d´état of February 1948 (1949 – 1989) the repertoire of the Opera of The Slovak National Theatre (SNT) was enriched only by five staging of the three guest stage directors (N. S. Dombrovskij, K. Kahl, G. Lohse). The social and political change after November 1989 theoretically enabled the invitation of foreigners, but the directory of the theatre took advantage only rarely of this possibility. The article focuses on the staging of foreign stage directors who brought us – sometimes more, sometimes less valuable – information about European staging trends (G. Montavon, D. Kaegi, J. Nekvasil, P. Mikuláštik, G. Varnas). Among guest stage directors it is especially Peter Konwitschny and Mariusz Trelinski. Their work considerably changed the perception of the opera theatre in Slovakia as well as the evaluation criteria to be used in all following opera staging in the Slovak theatre environment. When taking into consideration the quality and quantity of the staging of guest directors in the total context of the Slovak opera theatre, invitations of inspirational foreign teams seems to be a way financially demanding but indispensable for the inner motivation and for the outer effectiveness of the national opera milieu. In this context, it seems that the following season of the Opera of the SNT will be marked by a radical withdrawal from the reached positions.
3
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KRÁTKY EXURZ DO PROBLEMATIKY IMAGINATÍVNOSTI SLOVENSKÉHO OPERNÉHO DIVADLA

100%
Mojžišová M.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 3
305 - 313
EN
On the example of specific productions, the paper explores the issues of imaginativeness of the Slovak opera theatre. The official descriptive realism favoured in the early 1950s denied both, the author and the audience, space for imagination. Since the late fifties, our opera theatre has discovered increasingly advancing cinematic and lighting technology as an effective means to achieve the visual and emotional impact. The study monitors the use of these means, from the pioneering work of Miloš Wasserbauer in the turn of the fifties and sixties up to the contemporary opera productions.
4
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KOMORNÁ OPERA – POKUS O ALTERNATÍVNU OPERNÚ SCÉNU

100%
Mojžišová M.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 4
408 - 419
EN
The paper takes a close look at artistic, ideological and existential vicissitudes of the Chamber Opera, constituted in May 1986 and closed down in June 1999. It summarizes one chapter in the history of the Slovak opera theatre, which in addition to some positive moments was marked by the absence of clarification of competencies and by unfulfilled, often mutually contradictory artistic ambitions of individual personalities who influenced dramaturgy and productions during twenty-three years of its existence.
5
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CAMERATA SLOVACA – POKUS O SYSTEMATICKÉ PESTOVANIE KOMORNÉHO ŽÁNRU V OPERE SND

100%
Mojžišová M.
Slovenské divadlo (Slovak Theatre)
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2014
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vol. 62
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issue 1
81 – 95
EN
The activities of Chamber Ensemble of Slovak National Theatre in the seventies of the last century were a unique step in the systematic cultivation of opera genre on the first national scene. The ensemble was formed around the members of a chamber orchestra Camerata Slovaca and its founder, artistic director and dramaturgist - the conductor Viktor Málek. The ensemble staged seven opera productions in Slovak National Theatre. In terms of dramaturgy, we talk about the conceptual, style and genre-balanced program, in terms of musical and theatrical interpretation, the productions were in most cases quite a success. After the Chamber Ensemble of the Slovak National Theatre Opera ceased their activities, the baton in the cultivation of chamber music was picked by Chamber Opera, founded in 1986 at the Slovak Philharmonic, while Slovak National Theatre almost invariably resigned from staging chamber music pieces.
6
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POZNÁMKY K PROFILÁCII OPERY SND V MEDZIVOJNOVOM OBDOBÍ

100%
Mojžišová M.
Slovenské divadlo (Slovak Theatre)
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2014
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vol. 62
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issue 4
382 - 394
EN
This article deals with the shaping of the opera company of the Slovak National Theatre in the interwar period. Its main focus is on the characteristics of Karel Nedbal’s era (1928–1938), but neither does it ignore the contribution of his predecessor Oskar Nedbal, who, besides other things, improved the quality of the opera orchestra in Bratislava and helped the Slovak National Theatre establish relations with similar institutions abroad. The ten years of Karel Nedbal’s work, which theatre scholars consider one of the most significant eras in the theatre’s nearly one hundred years’ history, are characterised in terms of dramaturgy, staging and music and vocal production. The article confronts facts that have been published several times elsewhere with the opinions and views that Karel Nedbal expressed especially in his memoirs Půl století s českou operou (Half a Century with Czech Opera).
7
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SÚDOBÁ OPERNÁ TVORBA V REPERTOÁRI SLOVENSKÉHO NÁRODNÉHO DIVADLA 1920 – 1938

100%
Mojžišová M.
Slovenské divadlo (Slovak Theatre)
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2015
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vol. 63
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issue 4
357 - 376
EN
The study examines the introduction of the 20th-century opera production to the Slovak National Theatre Opera in 1920–1938. It comes to a finding that it constituted a quantitatively significant part, especially in Karel Nedbal’s era (1928–1938). However, a qualitative analysis reveals that only some of the produced titles were successfully time-tested and included into the key opera repertoire, today referred to as the 20th-century opera classics. These included Leoš Janáček and Richard Strauss’s operas and the profile opuses of the 20th-century opera avant-garde (for example, Sergei Prokofiev’s The Love for Three Oranges, or Dmitri Shostakovich’s Lady Macbeth of Mtsensk). On the other hand, the Slovak National Theatre ignored the classic opuses of Impressionism (Debussy, Ravel, Falla), Neoclassicism (Stravinsky, Hindemith), or the Second Viennese School (Schönberg, Berg) and their successors. However, it produced several titles which are nowadays regarded as historical artefacts of the period, which had no further stage life. The study also considers rarely produced or no longer produced plays by Czech and Slovak authors and opuses which fulfilled rather extra-artistic (social) roles in their times (for example, works by authors from allied countries), that means productions which have been more or less overlooked by researchers so far.
8
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DRAMATURGICKO-INSCENAČNÝ PROFIL SÚČASNÉHO SLOVENSKÉHO OPERNÉHO DIVADLA

100%
Mojžišová M.
Slovenské divadlo (Slovak Theatre)
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2013
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vol. 61
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issue 3
219 – 225
EN
This paper deals with the dramaturgical and staging profile of the three Slovak opera theatres – The Opera of the Slovak National Theatre, the State Opera in Banská Bystrica and the Opera of the State Theatre in Košice – in the period of 1990 – 2013. It was already in the early stages of the building of a new social system that Slovak opera theatres discovered the need for profitability of their production. Especially the theatre in Košice, but also the one in Bratislava, therefore gave preference to the repertory that had the potential to become popular with their audiences and to neutral production poetics creating the illusion of reality. On the other hand, Banská Bystrica chose a different way, that of dramaturgical exclusivity and innovativeness, which secured it the reputation of the most ambitious Slovak opera theatre. The first decade of the new millennium in Bratislava was marked by the effort to achieve dramaturgical and staging diversity and the ambition to get integrated into the Central European context. However, beginning with Sylvia Hroncová holding the post of the general director, the theatre went through an internal crisis caused by the frequent turnover of opera directors. After years of searching and subsequent stabilization in the spirit of conservative aesthetical and dramaturgical preferences embodied in the personality of Peter Dvorský, Košice appears to have been experiencing a turn to more ambitious dramaturgy in the last two seasons under the direction of Karol Kevický as the art director and Linda Keprtová as the chief dramaturge.
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