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THE YEARS OF GREYNESS

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Kret A.

Slovenské divadlo (Slovak Theatre)

2005

vol. 53

issue 3

229-233

(First indications of changes in an artistic orientation of the Slovak post-war theatrical art in recollections of a participant) During the period between 1950s and 60s also the Slovak theatrical culture was trying to adjust to oppressive heritage of schematise and non-creative application of descriptive-realistic theatrical dogmas. In the time when a group of young theatre critics was considering the possibility of criticising the lurking stage style of a certain part of the Slovak National Theatre drama repertoire, this troupe took part in an extremely successful trip to the Soviet Union. Following favourable international acceptance thus significantly affected critical reservations against the artistic programme of the Slovak National Theatre, and entirely eliminated some of then registered contributions.

IMMORTALITY OF ACTORS

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Kret A.

Slovenské divadlo (Slovak Theatre)

2008

vol. 56

issue 1

58-62

70 years will lapse this year since Constantin Sergeyevich Stanislavski (1863-1938) died. He lived more than 70 years out of which almost forty years he was a personality known over all Russia and later also worldwide. Stanislavski really stirred the theatrical world. At least he succeeded in codifying and upgrading dramatic art into a specific stage creation. Actors before Stanislavski from great European houses of the end of 19th century and also those performing alongside with him across all Moscow and elsewhere, were not worse than those directly with Stanislavski, but even in first staging of the Moscow Artistic Theatre an obvious effort in conveying - not by civilization of performance even though it had been crucial too - was noticeable, but above all the effort in true empirical expression of the psychic status of pictured character. It could be named as copying, photographing, mechanical imitation - but it was all about the inner world of the character, about the status and impulse. The author then explores how Slovak theatrical culture has reflected Stanislavski's work, and deliberates on why up to this day a relevant professional reaction does not exist, or an attempt in interpretation or application of his theoretical work and also a practical dramatic school.

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2 Slovenské divadlo (Slovak Theatre)

1 2008

1 2005

2 Kret A.

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THE YEARS OF GREYNESS

IMMORTALITY OF ACTORS