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1
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DRAMATIST IVAN STODOLA - PROLOGUE - JOKING (Ivan Stodola - dramatik prolog - zartovanie)

100%
Sladecek J.
Slovenské divadlo (Slovak Theatre)
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2010
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vol. 58
|
issue 1
3-12
EN
The paper elucidates the early works of one of the most prominent personalities of Slovak drama of the 20th century, the doctor and writer Ivan Stodola. His minute dramatic pieces, written for a student theatre in Liptovsky Mikulas, were put on paper in the early of the 20th century. His early dialogues were affected by Budapest cabarets (he made his debut in 1911, with a sketch 'Who Will be Wearing the Pants in the Family?'). Although the text is short, it shows the young and beginning playwright's gift for putting two distinct conflict-bearing characters against each other, his sense of drama and stage, as well as his sense of gradation and punch-lining. Among the best-known Stodola's minute dramatic pieces belonged 'Elections and Tax Settlement', written in 1920 and staged on a New Year's Eve party in 1920. In 1923, they were staged by members of the local culture society 'Beseda'. The author shares his profound knowledge of all minute dramatic pieces written by Ivan Stodola and their staging.
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IN BETWEEN INTENSIVE AND EXTENSIVE

100%
Timko M.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 1
70-79
EN
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.
3
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ACTUALIZATION TENDENCIES IN STAGING CHEKHOV'S 'SEAGULL' IN SLOVAK PROFESSIONAL THEATRES

100%
Cibulkova K.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 3
404-419
EN
The authoress is dealing with studying several variations of the performances of Chekhov's play 'Seagull' in the Slovak professional theatres. She is emphasizing the meaning of 'first - climbing' done by Milos Pietor in his staging in the theatre of Martin in 1963, and she is stressing that the director returned to this title two more times (in 1963 at 'Nova scena' (New Scene ) with excellent Magda Vasaryova as Nina Zarechna and in 1988 in 'Stúdio Novej sceny' (New Scene Study)) and each of his staging was different by its conception, corresponding to the social situation and situation of the Slovak spectator. Among staging that originated after 1990, the authoress of the study is praising as relatively most interesting the performance done by a dramaturgist of the theatre in Nitra S. Sprusansky who did not prepare the staging in one of the theatre halls of the Theatre of A. Bagar, but in surroundings of a stock of coulisses, as a story of people from the back stage. The second strongly accentuated topic of the staging was the issue of fame and success. The authoress is in this connection pointing at extraordinary well mastered acting of Eva Vecerova featuring Arkadinova.
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DRAMATURGICKO-INSCENAČNÝ PROFIL SÚČASNÉHO SLOVENSKÉHO OPERNÉHO DIVADLA

100%
Mojžišová M.
Slovenské divadlo (Slovak Theatre)
|
2013
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vol. 61
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issue 3
219 – 225
EN
This paper deals with the dramaturgical and staging profile of the three Slovak opera theatres – The Opera of the Slovak National Theatre, the State Opera in Banská Bystrica and the Opera of the State Theatre in Košice – in the period of 1990 – 2013. It was already in the early stages of the building of a new social system that Slovak opera theatres discovered the need for profitability of their production. Especially the theatre in Košice, but also the one in Bratislava, therefore gave preference to the repertory that had the potential to become popular with their audiences and to neutral production poetics creating the illusion of reality. On the other hand, Banská Bystrica chose a different way, that of dramaturgical exclusivity and innovativeness, which secured it the reputation of the most ambitious Slovak opera theatre. The first decade of the new millennium in Bratislava was marked by the effort to achieve dramaturgical and staging diversity and the ambition to get integrated into the Central European context. However, beginning with Sylvia Hroncová holding the post of the general director, the theatre went through an internal crisis caused by the frequent turnover of opera directors. After years of searching and subsequent stabilization in the spirit of conservative aesthetical and dramaturgical preferences embodied in the personality of Peter Dvorský, Košice appears to have been experiencing a turn to more ambitious dramaturgy in the last two seasons under the direction of Karol Kevický as the art director and Linda Keprtová as the chief dramaturge.
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DIVADELNÝ TEXT A JEHO HLASY. ÚVAHA O NIEKTORÝCH ASPEKTOCH VZŤAHU MEDZI DIVADELNÝM TEXTOM A JEHO INSCENÁCIOU

100%
Michalovič P.
Slovenské divadlo (Slovak Theatre)
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2022
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vol. 70
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issue 4
317 - 330
EN
This study deals with certain aspects of the relationship between dramatic text and its staging. The dramatic text itself cannot be viewed as a kind of supra individual set of instructions left by the author in a textual form to those who decide to carry out staging and performances based on them. This is partly because the very form of the dramatic text changes, for example when a manuscript is transcribed, to a form that corresponds to the actually valid conventions for the updating transcription of a language. The purpose of the transcription is to update the original language of the dramatic text to make it comprehensible and acceptable for another audience and to enable it to function even as an autonomous literary work. Although the transcription may change the original text to the minimum, even these minimal interventions lead to a change in the essence of the dramatic text. Another factor of change is the transfer of the written text into speech, while a significant role in this transfer is played by intonation, which forms the focus of the second part of this study.
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CENTENNIAL JULIUS BARC-IVAN (Storocny Julius Barc-Ivan)

88%
Cavojsky L.
Slovenské divadlo (Slovak Theatre)
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2009
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vol. 57
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issue 2-3
113-128
EN
On the occasion of the 100th anniversary of the birth of Julius Barc-Ivan, the prominent Slovak dramatist of the 20th century, the author, theatre scientist, reflects on his life and artistic fate. He introduces his theatre plays to the reader, notably dramatic piece 'Dvaja' (The Couple), which is considered to be the best Slovak intimate theatre play and 'Matka' (Mother), the central figure being, which is exceptional for Barc, a powerful female protagonist suggestive of an ancient tragedy. The author of this paper traces the fate of Barc's drama and he notes that, ironically, the most frequently staged piece is the comedy 'Mastny hrniec' (A Pot of Grease), which considered to be a marginal work by its artistic contribution and untypical for Barc. He underlines that some plays by J. Barc-Ivan have not been staged so far, and the production of 'Diktator' (The Dictator) directed by Jan Jamnicky was halted by the Slovak National Theatre shortly before its premiere in 1937, and it has not been premiered ever since. In conclusion, the author makes mention of the recent staging of Barc's plays, such as 'Neznamy' (The Stranger) by Slovak Intimate Playhouse in Martin, '3000 ludi' (3,000 Men) by the Theatre Faculty of the Academy of Music and Dramatic Arts, and 'Cirkus' (The Circus) by Arena theatre company, which is a montage based on the play 'Dvaja' (The Couple) and a short story 'Cirkus' (The Circus).
7

ARIANE MNOUCHKINE: THE ORIENTAL STAGE FOR SHAKESPEARE

88%
Hasiuk M.
Kultura i Społeczeństwo
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2005
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vol. 49
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issue 4
107-128
EN
Ariane Mnouchkine, in preparing a series of Shakespearan productions at the Théâtre du Soleil in the early 1980's (Richard II, Twelfth Night and Henry IV), used traditional theatrical forms from Japanese Noh, Kabuki and Bunraku; Indian Kathakali and Bharata-natyam, Balinese Topeng and Beijing Opera. The Shakespearan series, an example of transcultural experimentation, represented a breakthrough for the group from Cartoucherie, and was the director's first decisive step towards searching for her own sources. Asian theatrical forms that served above all as inspirations and 'traces of imagination', not just as models to be copied, 'refresh'Shakespeare's works and allow us to take a step back from them, as well as express the universal dimension of his dramaturgy. Mnouchkine used the traditional methods of the Asian theatre also as a means of amplifying Western stage conventions, thus creating the opportunity to pose new questions about the tasks that stand before theatre as an art form.
8
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HVIEZDONOSCI - OBRAZ CUDZINCA V ĽUDOVOM DIVADLE A PREMENY TROJKRÁĽOVEJ TÉMY

88%
Hlaváčová A.
Slovenské divadlo (Slovak Theatre)
|
2013
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vol. 61
|
issue 4
370 - 381
EN
The author examines the issue of Twelfth Night theatrical idiom in a broad cultural context. She looks at its origins in the Christian feast of Epiphany, as well as on integration of more archaic elements of folk theatre into the Twelfth Night after Kračún (winter solstice). She conceives this idiom as an open to racial, religious and cultural presentation of otherness, as well as a situational model for the projection of specific historical events - as illustrated by the example of staging paintings from the 15th century. The central part of the study draws on two major interpretive shifts, first analysing fragment from Ballek’s staging performance “Tiso” in traditional space of the theatre, second an itinerant theatrical activities of modern carolling performance “The Good News”, seen as a new theatrical phenomenon in terms of cultural and social functions and characterized by its strong territorial expansion.
9
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THE PORTRAITS OF LOSERS IN ARTHUR MILLER'S WORK (Portrety zufalych existencii v tvorbe Arthura Millera)

88%
Krenova L.
Slovenské divadlo (Slovak Theatre)
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2010
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vol. 58
|
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.
10
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INTEGRATION OF TRADITIONAL PUPPETRY IN CONTEMPORARY THEATRE AND THE 'PUPPETNESS' IN A MODERN THEATRE (Integracia tradicneho babkarstva v sucasnom divadle a babkovost v modernom divadle)

88%
Hledikova-Polivkova I.
Slovenské divadlo (Slovak Theatre)
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2010
|
vol. 58
|
issue 2
132-138
EN
Puppetry is usually identified with the old-fashioned idea of puppet theatre as the imitation of classical drama or opera theatre. This convention was topical in the 17th - 19 century, with the dominance of marionette theatre in baroque setting in the countries of Central and Western Europe. Such model of theatre was definitely outdated in the early 20th century, but the stereotype has remained. Another stereotype that is still kept alive is that especially children are target audience of puppet theatre. History reveals that puppets and later puppet theatre were developed in different historical contexts and children began to be the target audience in Germany only in the 19th century. These two stereotypes held back its development. At the end of last year, the authoress spoke on modern trends in European puppet theatre and giving the examples of Janos Palyi or Tomas Dvorak and documented the efficiency of combining modern contents with the citations from puppet traditions at the International Conference of Stage Animation hosted by the University of Tampere in cooperation with the Commission for the Research of Puppet Theatre UNIMA and The Centre for Research as Practice in Theatre in Tampere. For the authoress is Eduardo de Paiva Souza (Dudo Paiva) an example that shows the viability and inspiration of modern thinking and brings together animation with the distinct visual characteristics of movement while using the dramatic methods in the environment of puppet theatre. The Austrian dance productions of Vivisector by Klaus Obermaier (direction, music, video) and Chris Haring (choreography) performed by four dancers was another memorable, inspiring and provocative experience in the field of puppetry. Fascinating staging which combines dance and computer animation screened on the bodies of the dancers. The form of production and its moral message that questions the affects of virtual world on one's life was a fascinating experience, which showed a futuristic combination of physical and virtual presence and left a feeling of uneasiness.
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HOW (NOT) TO DO STODOLA? (ON STAGING OF TWO PLAYS BY IVAN STODOLA (Ako sa (ne)dela Stodola? (k inscenaciam dvoch hier Ivana Stodolu))

75%
Kyselova E.
Slovenské divadlo (Slovak Theatre)
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2010
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vol. 58
|
issue 2
166-177
EN
The dramatic art of Ivan Stodola shaped and formed Slovak professional theatre. His texts provided one of the key dramaturgical bases in the process of formation of contemporary Slovak drama staging. Actually he was the first who wrote plays systematically in the period of early professionalization of Slovak theatre. On the Czech stages, the situation was different. Humble staging tradition and not always successful interpretations indicate differences not only in dramaturgical issues but also in the issues of different tastes of spectators but, ultimately, significant differences between two independent theatre cultures. Two of Stodola's plays had quite a success on the Czech stages; Tea at Mr. Senator's and Jozko Pucik and his career. Both plays have attracted attention until recently -Tea at Mr. Senator was premiered at the Estates Theatre in Prague on 18th March 2010 (Czech premiere was at Svanda Theatre in Prague in 1934). Dramaturgical selection of this play was to bring the audience a lighter and witty comedy that would point to a parallel with the current state of the society and send the actual message before the upcoming elections. On the 15th April 2010, Slovak section of the Prague Theatre in Dlouha Street performed a stage reading of the play Jozko Pucik and his career. The directorial and-dramaturgical input is principle; 'a satire on false humanism' was staged as the theatre within the theatre. The authoress of this study analyzes both productions and notes that efforts to bring a new life into the Stodola's satire have remained unfulfilled.
12
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TWO MORALITIES ON THE OPERA STAGE (Dve moralky na opernom javisku)

75%
Blaho V.
Slovenské divadlo (Slovak Theatre)
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2009
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vol. 57
|
issue 2-3
144-151
EN
The two most noteworthy operas of non-Italian verism, d'Albert's 'The Lowlands' and Charpentier's 'Louise', are connected with the portrayal of two different types of morality. In case of the German opera, the virtuous mountains stand in contrast with the decadent lowland, while in the second opera, the Paris metropolis epitomises moral falls and the morality of a proletarian-petty bourgeois family stands in sharp contrast with the bohemian Paris. While the signature of the first work is a blend of veristic poetics and Wagner‘s postulates, the French composer was influenced even by a broader range of influences. Both these pieces have been staged only rarely in Slovakia and with controversial reviews. Contemporary internationally acclaimed theatres (in Barcelona and Paris) are keen to breathe new life in these operas.
13
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ZAHRANIČNÍ REŽISÉRI V OPERE SLOVENSKÉHO NÁRODNÉHO DIVADLA

75%
Mojžišová M.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
|
issue 3
256 – 271
EN
The fast development of media opened the borders of the contemporary opera world. However, not long ago the Slovak opera functioned without direct contacts with the foreign theatre trends. During the four decades after the Czechoslovak coup d´état of February 1948 (1949 – 1989) the repertoire of the Opera of The Slovak National Theatre (SNT) was enriched only by five staging of the three guest stage directors (N. S. Dombrovskij, K. Kahl, G. Lohse). The social and political change after November 1989 theoretically enabled the invitation of foreigners, but the directory of the theatre took advantage only rarely of this possibility. The article focuses on the staging of foreign stage directors who brought us – sometimes more, sometimes less valuable – information about European staging trends (G. Montavon, D. Kaegi, J. Nekvasil, P. Mikuláštik, G. Varnas). Among guest stage directors it is especially Peter Konwitschny and Mariusz Trelinski. Their work considerably changed the perception of the opera theatre in Slovakia as well as the evaluation criteria to be used in all following opera staging in the Slovak theatre environment. When taking into consideration the quality and quantity of the staging of guest directors in the total context of the Slovak opera theatre, invitations of inspirational foreign teams seems to be a way financially demanding but indispensable for the inner motivation and for the outer effectiveness of the national opera milieu. In this context, it seems that the following season of the Opera of the SNT will be marked by a radical withdrawal from the reached positions.
14
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NOH THEATRE IN THE WEST - A JAPANESE BRIDGE OVER ONE CENTURY - FROM W. B. YEATS TO JANNETTE CHEONG (No na zapade - japonsky most cez jedno storocie - od W. B. Yeatsa po Jannette Cheong)

63%
Rumanek R. V. I.
Slovenské divadlo (Slovak Theatre)
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2010
|
vol. 58
|
issue 2
150-165
EN
In the 19th century, the period of intensive contacts between the West and Japan was renewed. Two waves can be identified in the process of re-introduction of Japanese culture to the West until the continuous reciprocal cultural exchange as we know it after World War II. Fascination of Europe with the Japanese woodcraft (since 1862) that influenced Impressionism and later Art Nouveau can be identified as the first wave, the second wave is characterised by broader familiarity with Japanese culture and literature due to the fact that more and more Westerners mastered the secrets of the Japanese language and the first translations into the European languages appeared. Noh theatre emerged in the West as part of the second wave. It was during the U.S. and European tour of actor Kawakami Otojiro (1864 - 1911) who owned a private theatre Kawakami, and his wife, a former geisha Sadayakko (1871 - 1946), one of the first female actresses in modern Japan. Europe began to realize the authentic form of Noh. In London, the increase in popularity of Noh can be traced into the crucial moment, when a young American poet Ezra Pound (1885-1972,) came here in 1908 longing to get to know the Irish poet W. B. Yeats (1865-1939). Western authors appreciated how the Japanese Noh combines drama, music and dance into the monolithic unit and they considered mask an excellent means of an 'alienation effect', leading the spectators to feel separated from the events on stage and giving them an opportunity to think about the deeper meaning of events. Analysing the history of Noh in the West, we note two milestones, two points in this development which brings in mind two ends of Monet's Pont Japonais (Japanese Bridge) in his garden in Giverny, stretching over the century of its naturalization in the West. One is the work of William Butler Yeats at the beginning of the 20th century and - a century later, Jannette Cheong's work, the latest piece of the Western Noh. Both were written in English and premiered in London.
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