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OD AKADÉMIE POÉZIE PO ŠTYLIZÁCIU JEJ SCÉNICKÉHO OBRAZU V DIVADELNOM TVARE

100%

Podmaková D.

Slovenské divadlo (Slovak Theatre)

2017

vol. 65

issue 2

172 – 195

In the 1940s the Drama Company of the Slovak National Theatre introduced four poetry productions, which demonstrated the stage potential of the symbiosis of verse and a music-accompanied recitation in an original stage design solution. The single presentation of poetry of Poézia revolúcie a boja [The Poetry of Revolution and Fight,1945] directed by Ján Jamnický and Pásmo poézie Janka Jesenského [The Show of Poetry by Janko Jesenský, 1946] directed by Jozef Budský were the first independent attempts at staging selected poetry. Besides recitation, they were dominated by the visual sign, powerful music sometimes accompanied by the singing of individuals and a voice band, and distinctive lighting design. Botto’s Smrť Jánošíkova [The Death of Jánošík] and Sládkovič’s Marína (both in 1948) directed by Jozef Budský displayed all features of synthetic theatre, combining recitation, voice band singing, scenic and visual solutions, metaphor, originally composed music inspired by the folk song, dance, film screening, and meaningful lighting. Jozef Budský indirectly built on Czech theatre, particularly on E. F. Burian. Both masterpieces by the authors of Štúr’s generation (Ján Botto, Andrej Sládkovič) aroused the interest of the expert public and the audience. It triggered arguments about excessive directorial intervention and insufficient ideological character, especially in the theatre form of Marína.

DESAŤ DNÍ JÁNA JAMNICKÉHO SO SOVIETSKYM DIVADLOM

75%

Lindovská N.

Slovenské divadlo (Slovak Theatre)

2017

vol. 65

issue 2

121 – 141

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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2 Slovenské divadlo (Slovak Theatre)

2 2017

1 Lindovská N.

1 Podmaková D.

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OD AKADÉMIE POÉZIE PO ŠTYLIZÁCIU JEJ SCÉNICKÉHO OBRAZU V DIVADELNOM TVARE

DESAŤ DNÍ JÁNA JAMNICKÉHO SO SOVIETSKYM DIVADLOM