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Podatek VAT w transakcjach wewnątrz Unii Europejskiej – system przejściowy, docelowy czy podatek od sprzedaży

100%

Pastuszka J.

Kontrola Państwowa

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2012

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vol. 57

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issue 4(345)

102-118

EN

The analysis of the issue comprises the assessment of the present “destination based” VAT system, and information related to the impossibility of introducing a system for trans-border transactions that would provide taxation at origin. Simultaneously, the author discusses priority directions of the European Union’s activities aimed at improving the mechanism and ways of calculating the value added tax. He also describes the nature of the sales tax, presenting the advantages and disadvantages of its potential establishment in the EU. The author focuses on an evaluation of Community regulations, opinions and reports elaborated by European bodies, and materials from discussions on the issue.

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VÍZIE ADOLPHE APPIU

88%

Mistrík M.

Slovenské divadlo (Slovak Theatre)

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2015

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vol. 63

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issue 4

315 - 327

EN

Adolphe Appia made many contributions to modern theatre direction. He authored some, although not many, theatre productions, and wrote books and studies. He drew his own sketches of what the productions he would make would be like. He focused especially on Richard Wagner’s musical dramas and theoretically proposed how the so-called Wagnerian drama (a term that he used as an equivalent of Wagner’s Wort-Tondrama) should be staged. The present study recapitulates his fundamental ideas about music, stage space, painting, light, actors and directors. Later Appia collaborated with Émile Jaques-Dalcroze and synthesized his knowledge in the book entitled The Work of Living Art. It is best expressed by a quote from Friedrich Schiller: “When music reaches its most sublime effect, it becomes a shape in space.”

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DESAŤ DNÍ JÁNA JAMNICKÉHO SO SOVIETSKYM DIVADLOM

75%

Lindovská N.

Slovenské divadlo (Slovak Theatre)

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2017

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vol. 65

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issue 2

121 – 141

EN

Art was perceived in the Soviet Union as a part of ideology and propaganda aimed not only at the domestic environment but also at foreign countries. State cultural policy was presented through a series of magnificent meetings and shows, to which also participants from abroad were invited. In the 1930s Moscow was the venue of several theatre festivals, which were attended by Czechoslovak theatre makers. In 1936 it was also attended by Ján Jamnický, the novice director of the Slovak National Theatre in Bratislava. The Slovak theatre maker saw a lot of inspiring productions and experienced the initial period of a campaign aimed at suppressing the freedom of artistic expression. He became a witness to the twilight of Russian theatre avant-garde. The present paper describes the theatre experiences of Ján Jamnický in the Soviet Union and their impact on his life, production and style of direction. It points to a series of overlooked facts which are necessary for a complete understanding of the historical and artistic context of Soviet theatre and Jamnický’s journey.

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JÁN BORODÁČ A JEHO PRVÉ KROKY V ŽIVOTE I V DIVADLE

75%

Mišovic K.

Slovenské divadlo (Slovak Theatre)

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2017

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vol. 65

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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.

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3 Slovenské divadlo (Slovak Theatre)

1 Kontrola Państwowa

2 2017

1 2015

1 2012

1 Lindovská N.

1 Mistrík M.

1 Mišovic K.

1 Pastuszka J.

Podatek VAT w transakcjach wewnątrz Unii Europejskiej – system przejściowy, docelowy czy podatek od sprzedaży

VÍZIE ADOLPHE APPIU

DESAŤ DNÍ JÁNA JAMNICKÉHO SO SOVIETSKYM DIVADLOM

JÁN BORODÁČ A JEHO PRVÉ KROKY V ŽIVOTE I V DIVADLE