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NAŠI NAŠI FURIANTI PETRA LÉBLA

100%
Pokorný V.
Slovenské divadlo (Slovak Theatre)
|
2016
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vol. 64
|
issue 2
147 - 164
EN
This study draws on a doctoral thesis dealing with a series of postmodern productions of a Czech naturalist rural drama, which were put on the stage at the turn of the twentieth and twenty-first centuries. In 1994 Petr Lébl, a prominent Czech post-modern director, undertook the direction of Ladislav Stroupežnický’s classic Czech realist drama Naši furianti (Our Swagerers) from 1887. A distinct feature of Lébl’s directorial work is visual opulence. Also in this case, he packed the small stage of the Divadlo Na zábradlí theatre with dozens of actors and a large number of props, mixing elements of Czech, Spanish, Jewish and other national folklores in a pell-mell manner. In order to point out how devoid of any real substance national symbols are, he presented his characters in the style of Czech fairy tales – the just shoemaker Habršperk as a devil, the deceitful tailor Fiala as a water goblin and the brave army veteran Bláha as the Knight of Blaník. In addition, the role of the village teacher was performed by a black person, and a blind person played the part of a village scribe and law expert. Lébl thus took an ironic stance towards the tradition of realist staging of Stroupežnický’s drama by the National Theatre and indirectly commented on the chaos in values that had set in after the fall of the communist totalitarian rule in 1989 and with the onset of market economy practices, unrestrained by moral considerations, in Czech society.
2
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KONIEC DEJÍN A POSLEDNÁ INSCENÁCIA?

100%
Babiak M.
Slovenské divadlo (Slovak Theatre)
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2015
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vol. 63
|
issue 2
153 - 159
EN
The text ponders the possibilities of seeking new theatrical interpretations through the prism of the “end of history” thesis, which has been brought to social discourse by Francis Fukuyama. The text points to the direct link between Fukuyama’s thesis and the ideological and philosophical premises of postmodernism: both concepts suggest the end of the program of modernist search (both for a new political arrangement and cultural paradigm). However, they pose a serious problem for new theatre performances because the act of staging is based on discovering new interpretations. What is theatre going to speak about if we have – hypothetically – already discovered all possible interpretations (as Fukuyama and the philosophy of postmodernism suggest)? If theatre is supposed to be a mirror of its time (Shakespeare), is its role only to witness this end, the end of the program of modernist search?
3
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MAX REINHARDT – MYŠLIENKY O DIVADLE

100%
Mistrík M.
Slovenské divadlo (Slovak Theatre)
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2014
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vol. 62
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issue 4
359 - 371
EN
Max Reinhardt, one of the greatest theatre directors, was a theatre maker, actor, director and theatrical entrepreneur. However, unlike other great directors (Constantin Stanislavski, Vsevolod Meyerhold, Jacques Copeau, Antonin Artaud, Erwin Piscator, Bertolt Brecht, Jerzy Grotowski), he devoted little time to writing about theatre and did not leave any systematic methodological reflections on his profession. This study attempts to reconstruct from his writings Reinhardt’s thinking about theatre, especially about the relationship between a playwright and theatre, an actor’s personality and his technique, stage design and space and his relationship mainly to classic dramatists. It must be stated that despite a great effort it is practically impossible to reconstruct his thoughts in their complexity. It is partly possible only if one is familiar with his productions and theatrical business.
4

Orhanizatsiini zasady provedennia reinzhynirynhu biznes-protsesiv pidpryiemstv

88%
Taranyuk L. M., Zaporozchenko O. M.
Mekhanizm Rehuluvannya Economiky
|
2011
|
vol. 4 (54)
122-131
EN
Considered questions of analysis of organizational measures of enterprises reengineering business processes realization in the article. Methods of risk management during realization of reengineering on enterprises are offered.
5
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PRIRODZENÉ A UMELÉ AUTORSKÉ NÁVRATY K SLOVENSKEJ HISTÓRII

88%
Fehérová D.
Slovenské divadlo (Slovak Theatre)
|
2011
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vol. 59
|
issue 4
310 – 324
EN
Documentary drama does not have a real tradition in Slovakia. Many plays from the socialist times deformed reality to back up ideology. New tendencies, which tried to describe the history realistically, came only slowly. After 1989 we even talk about the stagnation or crisis of Slovak theatre. The theatre lost the contact with political life and lived off the entertaining function. As a paradox, in the new millennium it is young playwrights and directors, who decided to turn back to history and depict historical figures (artistic or political) or historical events. The paper will bring case studies from the point of a spectator / theatre critic on the topic that is brought on stage in contemporary Slovak theatre and how the creators deal with it in terms of preparation of the performance as well as the final perception by the audience. As the „case study“ it uses four performances from regular repertory theatres in Slovakia, some of them as a result of a creative urge of the author / director, some of them as a result of institutionally initiated project.
6
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POETA ĽUDOVEJ KRÁSY, ALEBO DOMA NA OCHOTNÍCKOM, HOSŤ NA PROFESIONÁLNOM JAVISKU

88%
Čavojský L.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 3
255 - 286
EN
The author, a renowned and still active Slovak theatre historian and critic, publishes one of his key chapters of the monograph written on the prime and until today most staged playwright of the amateur theatre, Ferko Urbánek. The author of this study examines the interest of theatre professionals in the plays by Ferko Urbánek and searches for objective and subjective reasons which caused that this loved by audience and greatly preferred by amateur actors playwright could reach the professional stage only through overcoming the great difficulties. He concludes that in the interwar period and after World War II alike, the theatre directors, dramaturges and the directors justified their indifference by pointing to the simplicity, sentimentality and melodrama of some of his texts. However, these arguments were the excuse for the rejection due to Urbánek‘s concept of Christian perception of culture. But Urbánek did not live up to the recognition of the qualities of at least his best plays even after the social change. His centenary was commemorating by a single professional theatre.
7
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IMPROVIZÁCIA, DRAMATURGIA, SPOMIENKA: VPLY DIVADELNEJ SCÉNY NA FILMOVÉ HERECKÉ VÝKONY V SÚČASNOM POĽSKOM FILME

88%
Katafiasz O.
Slovenské divadlo (Slovak Theatre)
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2015
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vol. 63
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issue 1
40 - 47
EN
The author examines the influence of stage acting on movie acting in contemporary Polish cinema, citing the example of three movies: Małgośka Szumowska’s 33 sceny z życia (2008) and W imię... (2013), and Władysław Pasikowski’s Pokłosie (2012). She argues that the experience gained in constructing the characters in the performances directed by Krystian Lupa and Krzysztof Warlikowski played an essential role in conceiving the corresponding movie characters. In addition, the model of work with actors introduced by these two directors has had a very significant effect on stage acting as well as movie acting concepts in Poland. The author draws the reader’s attention not only to Małgorzata Hajewska-Krzysztofik, Andrzej Chyra, Mateusz Kościukiewicz and Maciej Stuhr’s parts, but also to the film dramaturgy which also displays the influence of theatre narrative structures.
8

Genezys reinzhyniryngu biznes-procesiv yak elementa formuvannya efektyvnoyi systemy upravlinnya v diyalnosti promyslovyx pidpryyemstv

88%
Hrytsenko L. L.
Mekhanizm Rehuluvannya Economiky
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2015
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vol. 2 (68)
31-37
EN
The article examines the genesis of reengineering business processes as part of the formation of an effective management system in industrial activities. Identify differences definition of reengineering business processes from other methods of organizational change. Structural-logical essence of business process reengineering, which offered a variety of academic economists, as the withdrawal of the basic differences in definitions of different authors. It defines the principles of business process reengineering in the efficient management of industrial activities. Create the conditions of implementation of business process reengineering in the activities of economic entities, using situational approach, which identifies different variations of the implementation of reengineering for companies. Studied the procedure of business process reengineering of business entities, which states the basic stages of the radical changes in industrial activities. Formed conclusions on research within the scope of this article.
9
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HOW DO WE READ, HOW DO WE TRANSFER THE DRAMA OR THE THEATRE TEXT ON THE STAGE? (Ako dnes citame, inscenujeme dramu, divadelny text?)

75%
Podmakova D.
World Literature Studies
|
2010
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vol. 2 (19)
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issue 4
25-38
EN
The paper deals with the transfer of the text to the stage. Dramatization of a prosaic work and language translation has an impact on the relations between characters, their nature (character). Modifications of structure of the work brings fundamental often even genre changes which in interaction with other stage elements (staging, playing, scenography and others) substantially influence the final image of the production. The authoress proves the ability of the theatre to speak of the present through word or image using concrete works/productions (Zensky zakon by Tajovsky, HOLLYROTH created from texts by J. Holly, Pustokvet by Vajansky, Tiso created from speeches by Jozef Tiso, and other stage works). The literary work constitutes the basis for the performance text, even though non-text, non-verbal production is created.
10

ETNOLOGICKÁ SONDA DO CHOREOGRAFICKEJ TVORBY A UMELECKÉHO SMEROVANIA VÝZNAMNÝCH CHOREOGRAFOV AMATÉRSKEHO FOLKLÓRNEHO HNUTIA NA SLOVENSKU V DRUHEJ POLOVICI 20. STOROČIA

75%
Takácsová M.
Etnologické rozpravy (Ethnological Disputes)
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2015
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vol. 22
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issue 2
73 – 84
EN
Nowadays, folk movement is still an important part of cultural and social life in Slovakia. The mission of Ethnological sciences, especially Folkloristics, should therefore be i. a. the documentation and analysis of processes in folklorism, in which folk movement is very important and closely related component. Nevertheless, the Folkloristics stopped deal with this issue by the end of the 20th century. The aim of this paper is to highlight the important position of prof. Štefan Nosáľ in the second half of the 20th century in the process of creating the artistic direction of significant folk dance choreographers active mainly in amateur folk movement in Slovakia. This paper also highlights the aesthetic criterions of the most representative folk dance choreographers in the placing folklore material on the stage, their inspiration for the choreographic production, but especially the perception of stage folk dance by leading authorities in the folk movement in Slovakia in the defined period.
11

Metodolohiia reinzhynirynhu biznes-protsesiv promyslovykh pidpryiemstv

75%
Taranyuk L. M.
Mekhanizm Rehuluvannya Economiky
|
2011
|
vol. 1 (51)
111-119
EN
In the article the questions of analysis of methodologies reengineering are considered business-processes, term and features of lead through X-engineering. Methodology of reengineering of business-process of industrial enterprises is improved an author on principles of X-engineering.
12
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MILOŠ KARÁSEK – ČLOVEK MANIFESTOV

75%
Mistrík M.
Slovenské divadlo (Slovak Theatre)
|
2011
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vol. 59
|
issue 3
218 – 234
EN
Miloš Karásek is a Slovak artist active in several fields of arts, i.e. in stage design and stage direction, drama production, and also in painting and sculpture. He is the author of several manifestos, which are deliberately provocative and frame the various stages of his creation: theatre production in Prešov, Trnava and Bratislava (Stoka Theatre Company), parallel creation of mythical bronze statues, the so-called post theatre, which was a project of rhythmycising the sending of postal envelopes, with the climax being an experimental theatre performance, and dramatic creation for his own theatrical productions. One of his plays – Život na mieru (Customised Life), staged by Alexander Duchnovič Theatre in Prešov, under Karásek’s direction and with his stage design, may be regarded as a unique form of a manifesto, in which his ambition to be ahistorical, hedonistic, and sceptical is declared.
13
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HRY FRANKA WOLLMANA NA SCÉNE SLOVENSKÉHO NÁRODNÉHO DIVADLA V DVADSIATYCH ROKOCH 20. STOROČIA

75%
Zelenková A.
Slovenské divadlo (Slovak Theatre)
|
2020
|
vol. 68
|
issue 4
297 - 309
EN
Using new archival material, the study explores Frank Wollman’s plays staged by the Slovak National Theatre in Bratislava in the 1920s. Recognised as a Czech expert in Slavonic studies, he lectured at the Faculty of Arts of Comenius University in Bratislava. In the early years of his professional career, he presented himself as a “manifestly Czechoslovak” dramatist, whose drama Bohokrál (1921) [The Godking] published in book form portrayed Alexander the Great. The ideas of Czech and Slovak togetherness were conveyed through the Great Moravia theme in his historical tragedy Rastislav (1922). His Člun na moři (1924) [A Boat at Sea], a “human grotesque and political utopia” juxtaposing opposing human types, got a particularly keen public response. Overall, Wollman’s dramas reflected on major social conflicts, and by putting emphasis on moral ethos, they were intellectual in nature. They linked expressionist elements with the tradition of classical realistic drama. Even though the plays were not included in the basic repertory of the Slovak National Theatre when first staged, they have remained a witness of the author’s artistic formation as well as of the dramaturgy of SNT.
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