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SHAKESPEAROVSKÁ DRAMATIKA V TVORBE MILOŠA PIETORA: MEDZI PROLÓGOM A EPILÓGOM

100%
Sládeček J.
Slovenské divadlo (Slovak Theatre)
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2018
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vol. 66
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issue 1
23 - 40
EN
William Shakespeare’s work has a very specific place in Miloš Pietor’s professional biography: it starts at the beginning of the artist’s creative period and then again at the end of his professional life. The study is devoted to this part of the director’s work. It analyses the plays Merry Wives of Windsor (P. Jilemnický Theatre, 1963), Hamlet (Nová scéna Theatre 1974), comedy Love’s Labour’s Lost) (Nová scéna Theatre 1976) and presents the directorial and dramaturgical concept of Pietor’s first production after November 1989, The Merchant of Venice (1991). His planned premiere at the Slovak National Theatre did not take place; the work was cancelled due to the director’s tragic death.
2
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MILOŠ PIETOR A SHAKESPEAROVE HISTORICKÉ KRONIKY V SND

100%
Sládeček J.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 2
196 – 217
EN
The plays of William Shakespeare, except for Hamlet (Nová scéna, 1974) and Richard III (SND, 1987), do not define the artistic profile of Miloš Pietor, yet they significantly supplement it. Although as a dramaturge he felt at his best in a different repertoire, his several encounters with Shakespeare cannot go unnoticed. They must be examined for complete information about the director’s artistic development, but also about the productions of Shakespeare in Slovakia. Pietor had encountered Shakespeare six times; their seventh encounter was interrupted by the director’s unexpected death. The present paper deals with Pietor’s production of Shakespeare’s historical chronicles for the Slovak National Theatre in the period of 1980–1987.
3
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SLOVENSKÝ SHAKESPEARE V AMERICKOM EXILE

88%
Marcinčin M.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 1
4 – 21
EN
Ján Vilikovský’s synthesizing monograph Shakespeare u nás (2014) is a great study; however, it does not include the whole history of translations of Shakespeare’s dramas into the Slovak language. Slovak literary and theatre studies have not reflected this theme in relation to Slovak cultural exile after the year 1945. In the present contribution, the author completes the mentioned monograph by Vilikovský, he adds and deals especially with translations written in exile by Andrej Žarnov and Karol Strmeň. He pays special attention to the fragments of translations of Shakespeare’s dramas found as a manuscript in the inheritance left after the tragic death of their author Karol Strmeň. The author reconstructs the fragments and then analyses and compares them with relevant Slovak and Czech translations of Shakespeare’s works. As a result of this study, it can be concluded that the translations by Strmeň written in a modern, cultivated, although slightly archaic Slovak language would have achieved an important position in the history of Slovak translations of Shakespeare’s drama if they had been published.
4
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DVE SLOVENSKÉ INSCENÁCIE VLADIMÍRA MORÁVKA

75%
Lindovská N.
Slovenské divadlo (Slovak Theatre)
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2020
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vol. 68
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issue 4
335 – 353
EN
The Czech director Vladimír Morávek has staged two remarkable theatre productions in Slovakia. Both were staged on the verge of the millennia and were inspired by the world theatre classics. In 1999, Morávek staged Shakespeare’s Macbeth at Andrej Bagar Theatre in Nitra, and in 2005, he directed Cyrano de Bergerac by Edmond Rostand on the stage of the Drama Company of the Slovak National Theatre in Bratislava. The production of Macbeth in Nitra was the most successful and most frequently awarded production of the 1998/1999 theatre season. Both national and international theatre critics were particularly generous in their reviews. The production of Cyrano de Bergerac in Bratislava was among the repertory titles most popular with the audiences. However, reviewers were more reserved in their opinions. Both the productions had several things in common, namely, they both strived to interpret the well-known drama text in a novel way, while putting emphasis on actors’ performance, visuality, epic staging, and musicality. Morávek’s directions of Macbeth and Cyrano have enriched the relations between the Czech and the Slovak theatre scenes with a new experience and have become a significant part of the art biographies of several theatre professionals.
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