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TIME IN OPERA

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Blahynka M.
Slovenské divadlo (Slovak Theatre)
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2005
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vol. 53
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issue 4
356-360
EN
The study deals with time in opera as one of the most important categories of theatre and also of drama. It stems from the comparison of classical definitions of aesthetics and the conception of temporality in theatre written by Patrice Pavis. He is trying to answer the question, which peculiarities of music contribute to the temporality of opera work. Through practical models of several eminent Slovak theatrical opera stagings he is exploring how the time dimension of a work of art manifests itself in modern theatre.
2
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PRINCIPLES OF MIMESIS AND THE FICTION IN LESSING'S HAMBURG DRAMATURGY.

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Blahynka M.
Slovenské divadlo (Slovak Theatre)
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2008
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vol. 56
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issue 4
393-401
EN
Lessing's views on dramaturgy of applying of art mimesis and a fiction in theatre partly come out from analysis of the ancient classicists, partly from the period of enlightened reflection of the theatre. But mostly they come out from the French classicism and from the study of English aesthetics literature. Lessing anticipated the radical turn from the old-fashioned imitate theories and he opened in theory the possibility, to point out, that the reality under influence of the fiction can become different and problematic. Meeting with fiction allows also the real world to see ontologically deeper. One of Lessing's effort was to prove how the classic Aristoteles demands can be applied on the contemporary drama in the theoretical reflection of mimesis.
3
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MUSICALITY OF HASPRA'S 'POKUS O LIETANIE' (AN ATTEMPT TO FLY)

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Blahynka M.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
|
issue 1
99-103
EN
An outstanding Slovak musicologist and opera critic Miloslav Blahynka deals originally with studying musicality of Haspra's staging in Radickov's 'Pokus o lietanie' (An Attempt to Fly). He observes that in Radickov's staging 'Pokus o lietanie' (An Attempt to Fly) (the Slovak National Theatre 1980) the director Pavol Haspra was trying to draft an artistic function of the respective characters on the basis of their resemblance with voices of the multi-vocal musical composition. In doing so, he connects the musical principles with the compositional structure of the staging and through them strengthens not just the internal order of the staging, but signals also a more striking inclination to the artistic sensualism.
4
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NEW DIRECTION INTERPRETATION OF THE 19TH CENTURY CZECH OPERA (USING EXAMPLES OF THE PRODUCTIONS OF 'HUBICKA' BY SMOLIK AND 'RUSALKA' BY NEKVASIL IN THE SLOVAK NATIONAL THEATRE OPERA)

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Blahynka M.
Slovenské divadlo (Slovak Theatre)
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2008
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vol. 56
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issue 3
345-351
EN
The paper analyzes two production approaches to the interpretation of the 19th century Czech opera: to Smetana's 'Hubicka' (The Kiss, 1876), directed by Pavel Smolik in the Slovak National Theatre Opera, in 2003, and to Dvorak's 'Rusalka' (1901), directed by Jiri Nekvasil in the Slovak National Theatre Opera, in 2005. Both the directors have had a lucky hand in bringing the interpretation of these two operatic pieces up to date using the tools of modern direction theatre in opera. Both productions show a connection between the perception past of these operas and their contemporary interpretation, both production presuppose a critical involvement of the audiences who interpret the stage form on the basis of the perception past of these two operas. The stage forms of 'Hubicka' and 'Rusalka' capitalize on the diversity of relations between the text and their stage forms, thus opening new prospects for other production interpretations.
5
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PRINCIPLES OF MIMESIS AND FICTION IN BAROQUE OPERA STAGE

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Blahynka M.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 3
375-384
EN
From the point of theatre mimesis, the baroque opera stage has been suggesting mainly through its gestic tools at imitating human types and characters. The baroque opera stage did not head towards a drama substance as a particular fatal unit. The whole of stage work was based on an actor´s stylization and form. Via the category of astonishment and fantasticism, the baroque theatre inclusive of some actor means, is working with an artistic fiction. An illusion of reality - perfectly produced by then baroque scenographic means, and in contradiction to types of contemporary dramatic art, inclusive of a costume work, were creating a unique relation of artistic mimesis and artistic fiction in the history of theatre.
6
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MOZART'S OPERA STAGING IN SLOVAKIA AS DIALOGUE ON DIRECTORIAL THEATRE SHAPES

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Blahynka M.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 3
367-380
EN
In his contribution a prominent Slovak opera critic and theorist analyses the shapes of the directorial interpretations of Mozart's operas in the Slovak National Theatre Opera staging during the years 1920 - 2001. In the period between wars, the staging of 'Magic Flute' (1938) by director Viktor Sulc (Max Reinhard's student) can be used to demonstrate the connection of the Slovak theatre with post- expressionist development of the middle-European opera theatre. In the period after the end of World War II staging of the director Karl Jernek represent the effort to equal with the certain ideological and poetic compromises of realism established by the contemporary official aesthetics. The evidence is seen on two staging of 'Don Giovanni' (1956 and 1961). The first one is orientated to the contemporary understanding of realism, the second is a bit diverted, and the scenographic descriptiveness is substituted by an emphasis on the history. He also made a staging of 'Magic Flute' (1949). Jernek's peer, an outstanding director from Brno Milos Wasserbauer created two staging of Mozart's operas 'Le Nozze di Figaro' (1955) and 'Magic Flute' (1969) in Bratislava, which exceed the contemporary requirements towards realism and aim at seeking the ideal and psychological dimension of Mozart's musical - dramatic characters. While 70-ties and 80-ties are considered to be the years of declination (decadence, or stagnation) in the Slovak National Theatre Opera with regard to directorial interpretation of Mozart's operas, after 1989 new staging tendencies have been developing. Milan Sladek, a pantomime and director of the pantomime theatre, made a staging of 'Le Nozze di Figaro' (1991) in the form of a puppet theatre. Through puppets representing types of commedie dell'arte, in the opera staging of 'The Marriage of Figaro', he is revealing mainly the erotic situations, which were in the previous staging of 'The Marriage of Figaro' outlined with decency, and is using a type of skittishness, which could - when compared to puppets - hardly be achieved by the opera actors. Towards modern directorial theatre tendencies in opera during break through of 20th and 21th century have been approaching Mozart's staging of operas 'Cosi fan tutte' by director Pavol Smolik (1998), and 'Don Giovanni' by director Jozef Bednarik (2001). Both have the artistically valuable and problem sides. With Bednarik, who reached to opera from drama theatre, and from opera glanced off to the commercial musical projects, positioning an opera story into the surrounding of a call- house is not surprising, similarly like the concluding scene with picturing 'Don Giovanni' in a mental hospital getting the shots of a cold shower.
7
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MIMESIS AND FICTION IN OPERA SERIES USING THE EXAMPLE OF HANDEL'S 'ALCINA'

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Blahynka M.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 4
582-590
EN
Georg Friedrich Handel is in the opera 'Alcina' in line with contemporary ideas pointing out on chaos and untidiness caused by passions which could lead even to the loss of identity. At the same time his opera is by its exotic and fairy tale dimension in a specific way problematizing baroque oscillation between the world of artistic mimesis and the world of artistic fiction.
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