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ÚVOD DO PREMIEN SLOVENSKEJ SCÉNOGRAFIE

100%
Podmaková D.
Slovenské divadlo (Slovak Theatre)
|
2013
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vol. 61
|
issue 2
108 - 122
EN
The paper is introduction to the metamorphosis of the Slovak stage design from the 1970s up to present. The author focuses on the expansion of conventional theatre space in the Slovak context (auditorium/stage) by new acting locations (street, square, railway station, i.e. site-specific locations) and other changes related to modernism, post-modernism and trans-culturalism in the arts/ the theatre. Today, stage design reflects the feelings and a flurry of emotions of an individual and of the society. It makes use of the state-of-the-art technology not only to finish off a message but also to disintegrate an idea, a plot and to act as a counterpoint to the word or the theme. On the one hand, it is dynamic and polyfunctional, on the other hand, it is static and semiotic. New theatre forms reflect the time we live. The story has disappeared from the theatre and it has been replaced by the images, emotions of an actor/performer, thus representing his/their (self) knowledge. Oftentimes, the stage designer is within the performer who lives the time together with “his/her” audience.
2
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THE PORTRAITS OF LOSERS IN ARTHUR MILLER'S WORK (Portrety zufalych existencii v tvorbe Arthura Millera)

100%
Krenova L.
Slovenské divadlo (Slovak Theatre)
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2010
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vol. 58
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issue 1
13-32
EN
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.
3
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WHY IS DARIO FO A NOBEL PRIZE WINNER? (Preco je Dario Fo nositelom Nobelovej ceny?)

86%
Sabolova-Princic D.
Slovenské divadlo (Slovak Theatre)
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2009
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vol. 57
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issue 4
337-342
EN
Dramatic and theatrical works of Dario Fo are a part of the wider research of the grant task on Migration of Italian and German Culture in the Central European Cultural Area. Some singularities emerged during the reception of Dario Fo, Italian playwright, actor and director: the continuity of dramatic and theatre-publishing links remained to the rest of the Europe until 1990, especially thanks to translations and organizational work of Blahoslav Hecko, the founder of the agency DILIZA. Moreover, the paper focuses on the reconstruction of the staging concepts of Fo's plays staged in Slovakia: Archangels Don't Play Pinball (Otto Haas, 1963), He Who Steals a Foot Is Lucky in Love (K. Spisak, 1976), and also various versions of Comic Mystery (DSNP Martin 1995, Kosice 2003), with a brief comparison of his reception in the Czech context, especially directed by Peter Scherhaufer.
4
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VRBACKÝ'S TRANSLATIONS ON THE SLOVAK AND YUGOSLAVIAN STAGES BEFORE 1945 (Vrbackeho preklady na slovenskych a juhoslovanskych scenach pred rokom 1945)

72%
Jankovic J.
Slovenské divadlo (Slovak Theatre)
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2009
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vol. 57
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issue 4
270-283
EN
Although born in the United States, Andrej Vrbacky (1908-1974) came from the Slovak Lowland. His parents returned to Vojvodina shortly after his birth. From his early years, Vrbacky worked on two-way Yugoslavian-Czechoslovak route in two parallel professions - as a journalist and as a translator. He had wide contacts, broad thematic coverage in journalist and translational activities. Vrbacky lived in Yugoslavia, but it was not in the way of his cooperation with Bratislava and Kosice theaters. From 1933 to 1945, he was the main supplier of translations for Slovak professional stages - he prepared translations for 13 productions. The bibliography for the years 1938-1945 contains 54 entries of book translations and professional stage productions, and there are eighteen entries for the name of Andrej Vrbacky, representing 33% of the total production - no other translator was involved in the total production of translations from Croatian and Serbian on such a scale. On the other hand, he translated Ivan Stodola's plays Jozko Pucikk and His Career, Tea at Mr. Senator's, Bankinghouse Kuwich and Comp. into Serbo-Croat. Vrbacky's productivity and basic features of his translation program, or rather translation strategy, are evident throughout the all fields of dramatic arts - the author does not mean only translation of dramas that came out in the press and staged in amateur theatre, but also Vrbacky's pioneering collaboration with the Slovak Radio, which he supplied with many translations and his own adaptations of dramas written by South Slavic authors. After the period presented in this article, Vrbacky still worked as a journalist and a translator and until his late years he was a productive and inventive translator. Ample translational and popularizational work of Andrej Vrbacky is an important pillar of Slovak - Yugoslavian relations of the 20th century and the extraordinary contribution to Slovak culture and the culture of South Slavic nations.
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