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1

Cinema as Deconstruction of Memory. On Acting in 1918-1939

100%
Duniec K.
Kwartalnik Filmowy
|
2007
|
issue 57-58
6-13
EN
The conventional memory relating to Poland's pre-war acting is subjective; it eradicates negative experiences, preserving only spectators' admiration and critical reception. The researcher's memory brings them back and while re-constructing conventional memory; it assumes that it fails to perform the function and to communicate what is true. When we see outstanding theatre actors on the screen in a pre-war Poland, we usually see - as the authoress and other critics and theoreticians argue - just a semblance of the talent presented on the stage. In films these great actors not infrequently happened to be their theatrical caricature as they could not find a proper equivalent for the means of expression used on the stage. The then cinematic technology also did not make it possible to fully present their acting skills. She wonders why the acting of some actors appears to be outdated while the performance of others remains as fresh as in the past. She also describes the realities of the cinematography of 1918-1939 and actors' selection and directing criteria.
2
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HERECTVO V TEATRO TATRO

63%
Ballay M.
Slovenské divadlo (Slovak Theatre)
|
2014
|
vol. 62
|
issue 2
161 - 175
EN
In his paper, the author deals with the issues of acting in the context of the theatre company Teatro Tatro poetics. He focuses on the nature and typology of acting in its theoretical and generalizing form and is interested in unique variability of expression in acting, highly heterogeneous, flexible and wide-ranging. The author functionally categorizes acting primarily in terms of spatial dimension as well as thematic categories of character and directing. He pays attention to its entertaining nature in broader horizon.
3
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SCÉNICKÁ POSTAVA. NAKROČENÍ K FENOMENOLOGICKÉMU UCHOPENÍ PROBLÉMU

51%
Vinař J.
Slovenské divadlo (Slovak Theatre)
|
2017
|
vol. 65
|
issue 4
428 – 437
EN
This text is a posthumous work by Assoc. Prof. Josef Vinař (1934–2015), a lecturer at the Theatre Academy of Performing Arts in Prague. Before his death Josef Vinař asked his colleague Jan Vedral to take care of his unfinished theoretical work and make it available. Acting upon this wish and the wish of Vinař’s heirs, Jan Vedral put together a team from some of Vinař’s students (current doctoral students), who compiled Vinař’s theoretical ideas about theatre. The present study is a summary of some of Josef Vinař’s findings and especially his phenomenological ideas about the art of acting. The author prepared it for the Slovak Theatre journal.
4

PRETENSE AND DISPLAY THEORIES OF THEATRICAL PERFORMANCE

51%
Hamilton J. R.
Organon F. medzinárodný časopis pre analytickú filozofiu
|
2009
|
vol. 16
|
issue 4
632-654
EN
In this paper the author presents two competing theories of acting, the 'pretense theory' and the 'display theory'. He aims to show that we should not have as much confidence in the pretense theory as we may be tempted to have. And he hopes to show why the display theory of acting may be more attractive than the pretense theory of acting, whatever merits examining pretense may independently have for understanding the mental mechanisms underlying many of our interactions with the world and with each other.
5
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ELENA ZVARÍKOVÁ PAPPOVÁ. FEMME FATALE SLOVENSKÉHO HERECTVA

51%
Mišovic K.
Slovenské divadlo (Slovak Theatre)
|
2019
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vol. 67
|
issue 4
353 – 378
EN
Elena Zvaríková Pappová (1935 - 1974) was one of the most distinctive phenomenon’s among Slovak actors in the second half of the 20th century, but to this day her artistic profile has not been comprehensively researched. The most interesting period of her career was associated with her engagement at the Theatre of the Slovak National Uprising in Martin (1954 - 1968). To begin with she played marginal characters and genre figures, but from the late fifties she gradually became one of the leading protagonists’ of the ensemble. She mastered coping with stage stylization, but she felt at her best in civilian theatre poetics. In which she found a suitable medium for the believable portrayal of her character's internal conflicts and contemplation for the drama of the characters she played. She was typecast in roles of Plebeian, dominant and unrestrained women. Her corpulent appearance combined with her individual sense of humour was regularly used by directors in the comedy repertoire. Yet she also became a sought-after representative of fateful women who brought sexual irritation and fierce animality to the stage. The subsequent transition to the drama of the Slovak National Theatre in 1969 meant a sharp drop in her acting opportunities.
6

Spełnić się w wolności

51%
Mizdrak I.
Zeszyty Naukowe Uniwersytetu Ekonomicznego w Krakowie
|
2012
|
issue 887
57-71
EN
The problem of freedom considered in the broad context of self-fulfilment is in my view not merely an intellectual challenge, but also one of the most difficult existential experiences. Dealing with issues concerning the reality of human freedom and self-fulfilment directs us to the anthropological concept of the subjectivity of the individual and the questions it prompts. That is so because if we assume freedom to be a fundamental property of man’s subjectivity, embedded in its extremely complex structure, it then turns out to be among the fundamental conditions for the realisation of his humanity. By capturing more and more closely the specifics of individual subjectivity, we will achieve a deeper insight into what man really is. Karol Wojtyła’s concept of freedom is another voice in the philosophical discourse on man, his nature and the sense of his worldly pilgrimage. As we follow the successive stages and elements of Wojtyła’s phenomenological analyses, we may observe how freedom is constituted in the individual and how it can become the foundation of man’s self-fulfilment; how creative and dynamic was Wojtyła’s personal activity may perhaps also come to light.
7
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STARÉ I NOVÉ TVÁRE EVY KRÍŽIKOVEJ. INOVATÍVNE PRVKY V TVORBE HEREČKY V ROKOCH 1968 AŽ 1989

51%
Mišovic K.
Slovenské divadlo (Slovak Theatre)
|
2023
|
vol. 71
|
issue 2
173 – 197
EN
When she was entering her middle age, the actress Eva Krížiková (1934 – 2020), known to the audiences mainly thanks to her comic talents, faced the threat of being caught up in an uncreative comedy template. The early seventies, however, brought several precious drama opportunities for her, in which she proved her talents as a character actress. This study discusses in detail some of Krížiková’s achievements in acting, by which she showed that she was a performer of a wide artistic range. The author not only characterizes her emblematic creations and the directors’ strategies in casting her in roles but focuses mainly on the innovative elements of her enactment range, which she creatively developed or even newly discovered in an era of political pressure and suppression of free creations in the last two decades of communist rule in Czechoslovakia.
8
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IMPROVIZÁCIA, DRAMATURGIA, SPOMIENKA: VPLY DIVADELNEJ SCÉNY NA FILMOVÉ HERECKÉ VÝKONY V SÚČASNOM POĽSKOM FILME

44%
Katafiasz O.
Slovenské divadlo (Slovak Theatre)
|
2015
|
vol. 63
|
issue 1
40 - 47
EN
The author examines the influence of stage acting on movie acting in contemporary Polish cinema, citing the example of three movies: Małgośka Szumowska’s 33 sceny z życia (2008) and W imię... (2013), and Władysław Pasikowski’s Pokłosie (2012). She argues that the experience gained in constructing the characters in the performances directed by Krystian Lupa and Krzysztof Warlikowski played an essential role in conceiving the corresponding movie characters. In addition, the model of work with actors introduced by these two directors has had a very significant effect on stage acting as well as movie acting concepts in Poland. The author draws the reader’s attention not only to Małgorzata Hajewska-Krzysztofik, Andrzej Chyra, Mateusz Kościukiewicz and Maciej Stuhr’s parts, but also to the film dramaturgy which also displays the influence of theatre narrative structures.
9
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DIVADELNÉ UMENIE AKO NÁSTROJ INTEGRÁCIE PRE OSOBY SO ZDRAVOTNÝM ZNEVÝHODNENÍM: PRÍNOS DIVADLA PRE OSOBY S PORUCHOU AUTISTICKÉHO SPEKTRA

44%
Mazalán P.
Slovenské divadlo (Slovak Theatre)
|
2021
|
vol. 69
|
issue 1
83 – 98
EN
The study in an analysis of the relationship between theatrical art and the mental health impairments associated with Autism Spectrum Disorder. Apart from using theatre for education and social and clinical practice, we have a look at progressive, international and professional theatre institutions, which contribute significantly to the discussion on neurodiversity. Despite the fact that modern medicine has an impact on the change to the social paradigm towards the acceptance of people with mental impairments, the level of stigmatisation within society is still quite high. The study examines, within theatre or by theatrical means, the forms of inclusion which contributes to a cultural diversity that is an extension of an open and tolerant society.
10

PLAYS ABOUT OLD AGE AS THE ESSENCE OF NOH THEATRE

44%
Hlaváčová A. A.
Asian and African Studies
|
2015
|
vol. 24
|
issue 1
89 – 101
EN
This paper deals with the issue of aging as reflected in the Noh theatre repertory. It analyses plays about elderly women based on the aesthetic concept of the beauty of old age (rojaku) as one of the forms of the ephemeral. The paper also offers an insight into their staging – the beauty of an aging actors acting. The fact that there are three plays revolving around the character of an aged female poet is explained by the conceptual attitude of their author. As a side product, this paper reveals some morphological connections in the staging of the plays Sumidagawa and Sotoba Komachi, which could have an effect on the dating of the plays and the identification of their author.
11
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JÁN BORODÁČ A JEHO PRVÉ KROKY V ŽIVOTE I V DIVADLE

38%
Mišovic K.
Slovenské divadlo (Slovak Theatre)
|
2017
|
vol. 65
|
issue 2
101 – 120
EN
This paper presents little-known historical contexts of the life and production of the first Slovak professional director Ján Borodáč (1892–1964). It follows his private life, first encounters with theatre and especially his two-year studies in Prague. Its ambition is to offer several hypotheses which are supposed to elucidate the basic issues of Borodáč’s later production. It was namely during his youth and first encounters with practical theatre life that Borodáč’s views of theatre, which influenced Slovak professional theatre until the 1960s, were formed.
12

EXPERIMENTÁLNÍ ZKOUMÁNÍ STRUKTURY ZKUŠENOSTI

38%
Koubová A.
Filozofia (Philosophy)
|
2013
|
vol. 68
|
issue 5
393 – 401
EN
The article investigates the possibilities of philosophy conceived as a movement, in which cognition and self-cognition are in balance and which thus has the capacity to act on the reader as well as the author. The theatre discipline (Inter)acting with the inner partner developed by Ivan Vyskočil serves at least as the exemplification of this sort of philosophy. It is, however, intertwined with non-philosophical aspects: it is corporeal, per formative, determined by refined sensitivity as well as reflectivity. A closer view on this practice discovers structures of experience, topology of self-relationship and the relationship between the philosophical and non-philosophical which all have a more general validity. Dialogical action and its philosophical interpretation serve as an example of embodied thinking proposed by Merleau-Ponty in his Visible and Invisible. The article also shows how the resentment in the philosophical attitude can be abandoned.
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