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IN BETWEEN INTENSIVE AND EXTENSIVE

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Timko M.

Slovenské divadlo (Slovak Theatre)

2006

vol. 54

issue 1

70-79

An author in his contribution observes that Arthur Miller's stagings were performed in Slovakia each time when a new author's text appeared, and subsequently was produced in the various Slovak professional theatres. Miller's play 'Po pade' (1964) ( After the Fall ) was performed in Slovakia as the European opening. For P. Haspra, a dramatic definition of the new American drama was convenient. A young theatrical critic and historian M. Timko is dealing in detail with two Haspra's rehearsals of the play 'Cena' (The Price). The impact of Haspra's first staging of Miller's 'Cena' (The Price) was very heuristic and inspirative in the Slovak theatrical art context, extending the scale of histrionic mouldable devices of all actors who participated in performing. When confronting the first staging of 'Cena' (the Price), the second one seemed as numb and deaf, incomplete, building on extensiveness, outerness, lacking own substance - the contents. The director in the second staging waived of analyticism, embedding for the extensive outerior devices.

THE PORTRAITS OF LOSERS IN ARTHUR MILLER'S WORK (Portrety zufalych existencii v tvorbe Arthura Millera)

88%

Krenova L.

Slovenské divadlo (Slovak Theatre)

2010

vol. 58

issue 1

13-32

The authoress perceives Arthur Miller's admission on the Czech and the Slovak stage-craft on the background of existential philosophy enhanced in the 1960s. Miller's most staged 'Death of a Salesman' (1949) and the least staged 'After the Fall' (1963), are understood to be a representative existential arch over Miller's dramatic creation. Miller's initial inspiration for the plays was derived from Jaspers, according to whom the self-creation of a Man explicates his/her existence in two ways: under extreme life circumstances (Man is confronted with himself/herself) and in communication with others. In the case of Loman, the central character of the 'Death of a Salesman', Man's existence is materialized directly, under extreme life circumstances. Here the vital code is Man's failure. However, only in a true failure, Man will experience his/her existence, thus consuming his/her option of existence. In the case of Quentin, the main protagonist of 'After the Fall', Man's existence is materialized through communication, in contact with others (mother, father, wife Louise, wife Maggie, incidental female acquaintances Felice and Holga, colleagues from his law firm). 'Progressively minded' American dramatist Arthur Miller, as referred to by socialist theatre dramaturgy, was smoothly introduced to Slovak and Czech theatrical scenes. His 'Death of a Salesman' was constantly given green light, however, his 'After the Fall', which was ideologically less usable, was staged only twice in the Slovak National Theatre in Bratislava and once by the National Theatre in Prague. Both productions were taking place in a decade of 'political thaw'. Repeatedly, the 'Death of a Salesman' was a source of blunt criticism of a socially unfair capitalist society. The authoress concludes her paper by an overview of the staging of the plays by Slovak and Czech theatres.

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2 Slovenské divadlo (Slovak Theatre)

1 Krenova L.

1 Timko M.

1 2010

1 2006

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IN BETWEEN INTENSIVE AND EXTENSIVE

THE PORTRAITS OF LOSERS IN ARTHUR MILLER'S WORK (Portrety zufalych existencii v tvorbe Arthura Millera)