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HEREC SVETO HURBAN

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Maťašík A.

Slovenské divadlo (Slovak Theatre)

2016

vol. 64

issue 4

339 – 352

This study presents the profile of Sveto Hurban, a young actor from the drama company of the Slovak National Theatre. The grandson of Jozef Miloslav gained his first theatre experience in former Yugoslavia. First he attended an acting school in Novi Sad for two years and then, in 1928, he joined the company of the Serbian National Theatre. In spring 1929 he became a member of the drama company of the Slovak National Theatre. At first, he received only minor roles but he could make the most of them (see Števko in Tajovský’s Ženský zákon [Female Law]). Later he was cast into major roles. He played Satin in Borodáč’s production of Gorkij’s The Lower Depths, a leading part in Vladimir Hurban Vladimirov’s Či nepoznáte môjho synovca? [Don’t You Know My Nephew?] and Chekhovoi in Afinogenov’s Fear. His well-started career was, however, terminated by an unfortunate accident. On 30 July 1933 he went swimming in the Lower Land’s Danube and drowned at Zemun. He was buried in Stará Pazova, in a family tomb next to his father Konštantín and brother Cyril.

BORODÁČOVI CHLAPCI NA STRÁŽI

100%

Maťašík A.

Slovenské divadlo (Slovak Theatre)

2017

vol. 65

issue 2

158 – 171

This study deals with the production of the play Chlapci na stráži [Boys on Guard], which was awarded in a competition organized on the occasion of the twentieth anniversary of the establishment of Czechoslovakia in the spring of 1938. It was written by Ján Borodáč, the artistic director of the Drama Company of the Slovak National Theatre, under the pseudonym of Ján Debnár. By the time it was premiered on 29 October 1939, there had been significant political changes. Following the Munich Agreement, Czechoslovakia, based on the decision of the prime ministers of France, Great Britain, Italy and Germany, had lost ethnically mixed Czech-German borderlands, President Eduard Beneš had offered his resignation and had gone into exile, and Slovakia had got the autonomy it was promised by the Pittsburgh Agreement (an obligation that had gone unfulfilled for long). The play which was supposed to celebrate the anniversary of the Czechoslovak Republic paradoxically acquired a new meaning under the pressure of these changes – it celebrated the autonomy and called for a defiance of revisionist pressures from Horthy’s Hungary.

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2 Slovenské divadlo (Slovak Theatre)

2 Maťašík A.

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1 2016

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HEREC SVETO HURBAN

BORODÁČOVI CHLAPCI NA STRÁŽI