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DVE STATE O MODERNOM DRAMATICKOM UMENÍ (VHV, IVAN LILGE LYSECKÝ)

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Hučková D.

Slovenská literatúra (Slovak Literature)

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2016

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vol. 63

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issue 6

454 – 467

EN

Although the cultural life of Slovak communities found in the territory of Hungarian Lower land quite long lacked a direct contact with dramatic culture, at the turn of the 1910s theatre and dramatic art was integral part of Slovak-language culture in Vojvodina. Theoretical reflection on modern dramatic art developed, too, which can be proven by two articles published in Národnie noviny in 1914. Both of the authors had more or less direct links with the Slovak-language Lower-land environment. Vladimír Hurban Vladimírov (1884 – 1950) from Stará Pazova, nowadays regarded as the most significant Lower-land playwright, focused in his lecture O dramatickom umení (On Dramatic Art, Národnie noviny, 18 July 1914) on the basic principles of dramatic art being applied from the earliest times to present, which he had derived from contemporary German theatre studies. His paper received an immediate response from Ivan Lilge-Lysecký (1886 - 1918), working in Báčki Petrovac for some time, whose article Dramatické umenie (Dramatic art, Národnie noviny, 30 July 1914, 4 August 1914) was intentionally specialized in modern dramatics – in this respect Lilge was the first Slovak to inform about so-called intimate theatre. Both of the papers show the contemporary - yet unaffected by war - thinking on the form and character of dramatic art, which on the one hand grew against a background of analytically oriented Naturalism and Realism, and, on the other hand, it placed weight on synthetic expression, symbol, stylistic features and a new way of depicting intimacy. At the same time, they demonstrate that modernists´ attempts were not merely poetic and prosaic, but they were also made in the area of drama, moreover they occurred in the most modern form and a close connection with European contemporary tendencies and trends.

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VIANOCE AKO DRAMATICKÁ SITUÁCIA V SLOVENSKEJ MODERNISTICKEJ DRÁME PRVÉHO DESAŤROČIA 20. STOROČIA (VLADIMÍR HURBAN VLADIMÍROV, VLADIMÍR HURBAN SVETOZÁROV)

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Cupanová K.

Slovenská literatúra (Slovak Literature)

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2021

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vol. 68

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issue 2

154 – 173

EN

Christmas Nativity plays had long been a traditional part of Slovak folk theatre. Christmas performances were also popular with amateur theatres in the late of the 19th century. In the early of the 20th century, Nativity motives also inspired dramatists adhering to the new modernist style. Vladimír Hurban Vladimírov (pseudonym VHV, 1884 – 1950, play Vianoce – Christmas, 1904) and Vladimír Hurban Svetozárov (pseudonym VHS, 1883 – 1949, play Vianoce – Christmas, 1908) pushed the enactment of Christmas ceremonies to the background and concentrated on individual actions and experiences of their heroes. Both texts bear numerous features of period European modernist drama (preference for short dramatic form, character reduction, restricted dialogues, intensified dramatic conflict and communication crisis as a theme). Their innovative – emotionally and morally subversive – handling of Christmas topics employed modernist dramatic techniques and gave the developmental line of biblical, folk and didactic Nativity plays a new dimension. It gave birth to texts of expressively escalated emotional and moral dramas describing family break ups which focus on intimacy rather than on the religious message.

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POETIKA A ESTETIKA MODERNIZMU V DVOCH KOMORNÝCH HRÁCH VLADIMÍRA HURBANA VLADIMÍROVA Z PRVÉHO DESAŤROČIA 20. STOROČIA (KEĎ SA SCHLADÍ, 1905; BOJ, 1907)

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Cupanová K.

Slovenská literatúra (Slovak Literature)

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2021

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vol. 68

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issue 5

529 – 548

EN

The article provides a close reading of two one-act plays on love by Vladimír Hurban Vladimírov (1884 – 1950): “Keď sa schladí” (When it gets colder, 1905) and “Boj” (Fight, 1907). The plays were significantly influenced by Modernist poetics: they are markedly subjective (the same applies to Modernist Slovak poetry and fiction in the late of the 19th and early 20th centuries), stylised as symbolic, the plot is pushed to the background, and psychological and emotional life of the heroes is foregrounded. Accentuating inner life in drama is intimately connected with the problem of the categories of the subject (internal dramatic subject) and time (temporal frame bearing meaning) and, on the level of composition, also with the degree of compactness and unity. The composition of the plays is fragmentary and discontinuous and they tend towards open endings. The dramatic potential of classical drama got distilled into the fragmentary genre of one-act play. Overlaps of the artistic styles (Symbolism, Impressionism, Secession) and the technique of synaesthesia result in an overlap of various artistic methods and techniques which were used to achieve a nuanced realisation of prominent personal and subjective themes.

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1 Hučková D.

DVE STATE O MODERNOM DRAMATICKOM UMENÍ (VHV, IVAN LILGE LYSECKÝ)

VIANOCE AKO DRAMATICKÁ SITUÁCIA V SLOVENSKEJ MODERNISTICKEJ DRÁME PRVÉHO DESAŤROČIA 20. STOROČIA (VLADIMÍR HURBAN VLADIMÍROV, VLADIMÍR HURBAN SVETOZÁROV)

POETIKA A ESTETIKA MODERNIZMU V DVOCH KOMORNÝCH HRÁCH VLADIMÍRA HURBANA VLADIMÍROVA Z PRVÉHO DESAŤROČIA 20. STOROČIA (KEĎ SA SCHLADÍ, 1905; BOJ, 1907)