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1
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HUMAN AND ARTISTIC VERSION OF IVAN RAJNIAK

100%
Mrlian R.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
|
issue 2
230-276
EN
In summer of 2006 the Slovak theatrical artists and theatre supporters will commemorate two important jubilees - unaccomplished 75-th birthday of the actor, the member of the Slovak National Theatre drama troupe Ivan Rajniak, and 90-th birthday is to celebrate one of the founders of the modern Slovak theatrology, the academician Rudolf Mrlian. As a matter of a coincidence, both were born in a small village Hyba located under the Tatras, and the theatrologist R. Mrlian offered once a magazine to publish his monographic study on the actor I. Rajniak. The editorial office is, in the conviction that subconsciousness of continuity is a necessary prereqisite, publishing this study.
2
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HEREC SVETO HURBAN

80%
Maťašík A.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
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issue 4
339 – 352
EN
This study presents the profile of Sveto Hurban, a young actor from the drama company of the Slovak National Theatre. The grandson of Jozef Miloslav gained his first theatre experience in former Yugoslavia. First he attended an acting school in Novi Sad for two years and then, in 1928, he joined the company of the Serbian National Theatre. In spring 1929 he became a member of the drama company of the Slovak National Theatre. At first, he received only minor roles but he could make the most of them (see Števko in Tajovský’s Ženský zákon [Female Law]). Later he was cast into major roles. He played Satin in Borodáč’s production of Gorkij’s The Lower Depths, a leading part in Vladimir Hurban Vladimirov’s Či nepoznáte môjho synovca? [Don’t You Know My Nephew?] and Chekhovoi in Afinogenov’s Fear. His well-started career was, however, terminated by an unfortunate accident. On 30 July 1933 he went swimming in the Lower Land’s Danube and drowned at Zemun. He was buried in Stará Pazova, in a family tomb next to his father Konštantín and brother Cyril.
3

PATTERNS OF SOCIAL WORLD: THE CONCEPTS OF SOCIETY AND ACTOR IN SOCIOLOGICAL THEORY (Kartyny sotsial'noho svitu: konsepty suspilstva i subjekta dii v sotsiolohichnii teorii)

80%
Otreshko N.
Sotsiolohiia: teoriia, metody, marketyng (Sociology: Theory, Methods, Marketing)
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2009
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issue 1
127-137
EN
Patterns of the world are systems of ideas about reality. These systems are accepted in the culture of a certain socio-historical area. Patterns of the world set the stage for world perception by a human being as a subject of cognition and as an actor. Actor's points of view are conditioned by such an interpretations of reality as self-evident for the actor. This way of reality interpretation may be defined as the pattern of the world which dominates in the mass consciousness in certain socio-cultural space. Intellectual elite elaborates the interpretation of social reality intended for all social groups. In the Middle Ages, Catholic Church held the monopoly in offering the universal 'Weltanschauung' shaping the religious pattern of the world. Starting from the Age of Enlightenment, the secularization process had broken up this monopoly in favor of philosophers and, later on, theoretical sociologists. Objectivist and subjectivist sociological theories treat these developments, as well as concepts of society and actor in different ways. Such a divergence of opinions is conditioned both by philosophical and political ideas of theorists.
4
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SLOVAK THEATRE AND THE CHANGES OF GENERATIONS (Generacne preskupovania v slovenskom divadelnictve)

80%
Matasik A.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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issue 1
14-26
EN
The author examines the formation of every generation of artists that has contributed to the shaping of Slovak professional theatre. In the late thirties, a generation of young artists already trained at the Bratislava Academy of Music and Drama entered the world of theatre and gradually replaced the founding generation around the director Jan Borodac. Although their formative process was not completed until after World War II, they had a decisive influence on the development of Slovak theatre until the 1960s. At the turn of the 60s and 70s, for the first time a new generation stepped forward not only as an alternative to the efforts of their senior colleagues, but also on the basis of consensus and unity. Between 1968- 1971 a group of actors, directors and others involved with the Divadlo na Korze (Theatre on the Corso) laid the foundations for a new artistic program that was later extended, modified and directly or indirectly accepted widely among theatre artists during the seventies and eighties. The fourth generation of theatre artists should logically have followed, but the social changes have brought the withdrawal of the theatre from its previous positions in the social hierarchy. Only an increased interest of commercial TV companies in the production of original Slovak TV series and the renewed public interest in such production gives us some hope that a new artistic program as a platform for a new generation of theatre artists might appear recently.
5
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SCÉNICKÁ POSTAVA. NAKROČENÍ K FENOMENOLOGICKÉMU UCHOPENÍ PROBLÉMU

80%
Vinař J.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 4
428 – 437
EN
This text is a posthumous work by Assoc. Prof. Josef Vinař (1934–2015), a lecturer at the Theatre Academy of Performing Arts in Prague. Before his death Josef Vinař asked his colleague Jan Vedral to take care of his unfinished theoretical work and make it available. Acting upon this wish and the wish of Vinař’s heirs, Jan Vedral put together a team from some of Vinař’s students (current doctoral students), who compiled Vinař’s theoretical ideas about theatre. The present study is a summary of some of Josef Vinař’s findings and especially his phenomenological ideas about the art of acting. The author prepared it for the Slovak Theatre journal.
6
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IRREPLACEABLE ROLE OF ACTOR'S UNIQUENESS: STANISLAVSKI'S WORK MADE ACTING SEARCH FOR ITS SOUL (Nezastupitelna role herecke jedinecnosti: vystoupenim Stanislavskeho se herectvi vydalo hledat svou dusi)

80%
Vinar J.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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issue 1
3-13
EN
The search for intimacy is taken from the concept of how emotive a role is as the core experience. The range of emotions does not come across as a jealousy, anger, love an sich, but more as a changes in mood, which opens up a world of unique deep-rooted situations and a world of on going discourse as a whole. The actor is experiencing his artistic personality and character in creative tension. This fluctuation in changing moods corresponds with the varying bonds of actors - a figure /character and its formation. These findings add to its personification through using their artistic experience and Jouvet reflection. The actor and his character conduct a dialogue of multiple personalities. All of this is the basis of a spiritual tradition in what actors create and their training. History is becoming a 'well-trained actor' prepared by schools of clear cut indoctrination. The Present is a creative acting, going beyond the boundaries of mere current knowledge.
7
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Jak nepočítat jednání: agency in medias res, morálně uzavřený svět a teorie jednání

80%
Hajek M.
Teorie vědy (Theory of Science)
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2007
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vol. 16/29
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issue 2
77-91
EN
The text is inspired by the article of Steve Fuller named Making Agency Count (Fuller 1994) where Fuller introduced the concept of agency in medias res in order to treat agency as a kind of social 'scarce good'. The author's aim is to show that while Fuller claim seems plausible in the light of the agency negotiation in the legal determination of patents, the fetal medicine or the fetal tissue research, there are nevertheless several problems in its implications. First, if we consider moral action as an example of agency, an altruistic actor, in order to not consume much from the stock of available agency, would resign from a moral action, or, in extreme case, would act immorally to provide more space for moral action. Second, agency is always connected to multiple meanings therefore what is considered as agency by one actor, could be considered as non-agency by another one. Agency can be multiplied by diversification of attributed meanings, what is not the case of economic goods. In concluding the article he makes a hypothesis that there is an interesting kind of agency (quasi-agency), which is produced by a social protection. Children, animals, fetuses are claimed to be actors but, in fact, this action magnify temporarily mainly the agency of claimants than those objects of protection.
8
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ESTETIKA PERFORMATÍVNEHO UMENIA: ZLOŽKY PERFORMANCIE OPTIKOU AKTUÁLNEJ TEÓRIE

80%
Kušnírová E.
Slovenské divadlo (Slovak Theatre)
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2023
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vol. 71
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issue 4
339 – 353
EN
The presence and genealogy of the terms ‘performativity’ and ‘performance art’ can be traced along several lines; they figure in reflections in philosophy, social science, and art history. Experiments of the theatrical avant-garde, ideas of the modern, and post-structuralist influences all co-shaped the language of performative art. The acceptance of performative strategies in culture and arts, and reflections across scientific disciplines, initiated a situation (analogous to the so-called turn towards language) which came to be called performative turn. This study broadens the discussion on performative art and performativity by the perspective of aesthetics. From among the categorical apparatus of philosophy, aesthetics, and the aesthetics of reception, the author identifies the elements of performance and subsequently interprets them as constitutive principles of performance.
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VPLYV JACQUA COPEAUA NA METODIKU HERECKEJ PRÍPRAVY MICHELA SAINT-DENISA: OD PRAXE ŠKOLY ÉCOLE DU VIEUX-COLOMBIER PO SÚBOR COMPAGNIE DES QUINZE

70%
Corponi C.
Slovenské divadlo (Slovak Theatre)
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2019
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vol. 67
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issue 4
322 – 334
EN
The transmission of actor training is a complex topic within theatre studies. Michel Saint-Denis’ actor pedagogy, often neglected by theatre historians, is an exemplary case study for two main reasons. Firstly, he (Jacques Copeau’s nephew, student and heirs) was the first to translate the acting practices rediscovered in the École du Vieux-Colombier and by the Copiaus group into a fixed method. Secondly, he led and adapted Copeau’s teachings in the Anglophone theatrical world. This study explores the first institutional context created by Saint-Denis that also constitutes the prototype of his pedagogy: the London Theatre Studio, founded in 1935 and active until the outbreak of World War II. The study investigates the transition from an entirely experimental practice – that is, the research undertaken by Copeau with his pupils – to an established method. This system was conceived for transmission, and therefore standardised. Saint-Denis appears to be the custodian of Copeau’s legacy, responsible for translating a combination of experimental workshops into a structured method and for their further development in acting school programmes. Furthermore, upon his relocation from France to England, Saint-Denis contaminates the British theatrical milieu, becoming the link between two different theatre cultures.
10
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ACTOR AS THE SUBJECT OF CRITICISM AND PEDAGOGY (Herec ako objekt kritiky a pedagogiky)

70%
Kret A.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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issue 1
33-36
EN
According to the author, we shall notice that we can not talk anymore about the difference between the author created drama character and its original image in the reality. We don't know when in the field of aesthetics we should consider only the art and when also the source of art - the nature itself. However, we require students to named and be able to describe different schools of art, styles, and eras that are nothing less but a desperate attempt to find the truth in a drama character on the stage. The author attempts to view an actor as an object (as well as a tool) commonly used by theatre experts and critics, who increasingly view the actor as an interpreter of different schools of art, styles, and eras rather than as talented interpreter of his/her own inner feelings and emotional state. The result is the loss of focus on the uniqueness of individual interpretational skills of the actor - creator. This author argues that the character coming to life through actor's actions depends on the contemporary understanding of the theatre.
11
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HEREC AKO OBJECT KRITIKY A PEDAGOGIKY

70%
Kret A.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
|
issue 4
305 – 309
EN
After the end of World War II in Europe, a generation of young dramatists stepped forward in Slovakia who despite the very vague idea of theatre as the authorial art was sure to create the theatre that their older colleagues would not be able to dream about. Indeed, the absolute lack of the theatre training and education was obvious. But what they knew was that they need to play with passion and according to Stanislavski, with the soul in the hand. Together with the whole post-realistic world of theatre they enthusiastically accepted his deconstruction of orchestra to individual instruments. Our post-war theatres deployed Stanislavski system, which was the official system of theatre work in the Soviet Union and satellite socialist countries. As early as in the twenties of the last century, the Russian avant-garde was cut off within the Soviet Union and the same situation occurred after the „victory of the working people“ in 1948 in our country. Stanislavski system, as it was officially called in the Soviet Union as well as in our country, suddenly became the only possible method and form of theatre work. In Slovakia, only Budský and later his students Haspra, Pietor, Vajdička and Oľha knew how to confront this method.
12
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CESTA ROBERTA ROTHA DO SLOVENSKÉHO NÁRODNÉHO DIVADLA

70%
Fehérová D.
Slovenské divadlo (Slovak Theatre)
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2023
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vol. 71
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issue 2
214 – 226
EN
This study captures a cross-section of the gradual transformation of Robert Roth (1972) from a child actor into an actor of the Slovak National Theatre through various theatrical experiments. Besides the diversity of his acting roles, his alternation of artistic teams and theatres, his collaboration with various directors and, especially, his constant work and acceptance of challenges all played an important role in this process. Based on the available archival materials and her own research, the author tries to map the background that shaped Roth’s theatrical and socio-critical thinking, thanks to which he later became a prominent actor of the Drama Ensemble of the Slovak National Theatre.
13
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NEZNÁMA (HERECKÁ) TVÁR JANKA BORODÁČA

70%
Mišovic K.
Slovenské divadlo (Slovak Theatre)
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2020
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vol. 68
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issue 1
5 - 23
EN
When reflecting on the work of Janko Borodáč, the founding personality of Slovak theatre, the greatest emphasis is rightly placed on his directing, dramaturgical, and directorial activities. Aside from that, Borodáč had also been an active member of the Slovak National Theatre drama ensemble for more than twenty years, where he enjoyed a prominent position. The aim of the study is to present not only the overlooked, marginalised even, perception view of his actor’s profile, but also to characterise the context of the chaotic operation of Slovak National Theatre in its early years, in which the first generation of Slovak actors worked. Borodáč’s work as a pedagogue is also related to acting. Thanks to him, drama as a self-contained field of study was established at the Music School in Bratislava, the first of its kind in Slovakia, where he taught new generations of Slovak artists. As in directing and acting, in his teaching, too, he encouraged his students to familiarise themselves with a psychological-realistic method and he was consistent in disapproving of any manifestation of anti-illusionary stylisation.
14
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ON THE PHENOMENOLOGY OF AN ACTOR'S FACE ((K fenomenologii tvare herca)

61%
Vinar J.
Slovenské divadlo (Slovak Theatre)
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2010
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vol. 58
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issue 1
47-56
EN
The author, reputable Czech theatre theoretician, produced a comprehensive and for theatre important monograph on the role of an actor's work with his/her own face in the rendition of a dramatic figure and, hence, the function of the actor's face in the process (not only strictly limited to facial expressions) of change of an actor to a dramatic figure. The author examines this process from the different angles and traces back the less-known areas of perception and the use of the face in the theatre cultures of the Far East. The paper focuses on the elucidation of the presence of physiognomy in ancient Chinese culture and in ancient theatre. It is concluded by the author's statement that Roman pragmatism, certain indifference to the metaphysical problems of early philosophy, was outweighed by an interest in concrete specificities, in the present or about to begin time of the foreseeable future. The Roman art of divination, which interpreted omens, both seen and heard, and built on the art of 'reading from the face', served the above purpose. Here the Romans availed the classical knowledge of Greek anthropometry and physiognomy and given principles of corporeal beauty.
15

Mises en traduction théâtrale: Valère Novarina — Dimitris Dimitriadis, contextualisations multiples d’un événement scénique

61%
Bobas C.
Romanica Wratislaviensia
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2012
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vol. 59
319-329
EN
In terms of theatre, translation involves not only linguistic transfers on the level of discourse signification, but also a transfer of functions in relation to other signs of theatre action. Theatre translation as a component of a whole dramatic process has to consider among other criteria the author’s (playwright) basic position which leads the speech action to the stage. In this context, the V. Novarina and D. Dimitriadis’ approaches present opposite points of view, with different cultural references, corresponding to a contemporary theatrical discourse which could contribute to an important extent, to the translator’s work.
16
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OTAKAR ZICH'S CONTRIBUTIONS TO THE THEORY OF OPERA ACTING (Podnety Otakara Zicha pre teoriu operneho herectva)

61%
Blahynka M.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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issue 1
27-32
EN
The paper analyses contributions of Otakar Zich, Czech aesthetician and theatrologist, to the theory of drama and opera acting. Zich's starting point was aesthetic structuralism. In his systematic work The Aesthetics of Dramatic Art (Prague 1931), he presents his view on opera acting. It is based on an analysis of performing arts that distinguishes a dramatic character and a performer. Zich believes that opera composer does not compose just the dramatic text, but creates both musical and dramatic situations. From this position further requirements for artistic work of opera actor are derived, especially the ways of responding to opera music.
17
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RETHINKING DRAMA IN THE CRISIS OF DELIBERATIVE COMMUNICATION: THE RADICAL THEORY OF MARTIN BUBER AND GUSTAV LANDAUER

51%
Motal J.
Slovenské divadlo (Slovak Theatre)
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2021
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vol. 69
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issue 3
290 – 306
EN
The article presents the basic elements of Gustav Landauer’s and Martin Buber’s thinking on theatre and drama. It shows they are rooted in the late 19th-century critique of language (Sprachkritik), trying to overcome the representational function of language. The author searches for shared elements in both thinkers’ philosophies: an integral idea of human personality (inner necessity), spirituality as a super-personal unity tending towards a communitarian vision of the people, and so on. While Buber emphasizes the unity of opposites, or the union of the characters in the drama while preserving their differences, Landauer focuses on achieving unity with the ancestors and the cosmos through an inner immersion. Both direct their theory of drama towards political meaning. This paper proposes that their concept of drama can be used to rethink communication, transcending the post-politics of consensus, as it preserves difference in unity.
18
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Nad Dolníkovou Teorií spisovného jazyka o konceptuálních a metodologických problémech ve výzkumu jazykových norem a spisovné variety

51%
Dovalil V.
Slovo a slovesnost: časopis pro otázky teorie a kultury jazyka (Slovo a slovesnost: A journal for the theory of language and language cultivation)
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2012
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vol. 73
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issue 2
135-147
EN
This article, drawing upon Juraj Dolník’s book on the theory of standard language with regard to standard Slovak (2010), concentrates on the question of the sources of standard variety and the problem of objectivity of scientific knowledge. Reconsidering Dolník’s concept of norm critically, it places emphasis on the fact that linguistic norms, as a part of social norms, are constituted in interactions, which helps to explain their indexicality. It also argues that language users are actors in social processes who hold specific social roles, which corresponds to their differing power (and vice versa). Referring to Language Management Theory, the article concludes with some more general arguments in favor of qualitative methodology in the research on linguistic norms and the standard variety.
19

Recursion and Equifinality in Relationship between Film and Theatre: Being John Malkovich

41%
GETLÍK P.
Communication Today
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2018
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vol. 9
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issue 2
118–131
EN
The essay focuses on the intersemiotic relationship of film and theatre that inevitably forces a metatextual dialogue of these semiotic systems in artworks. We have chosen the play-element of art to be the centre of our theorising, because we assume that it is often a significant interpretational key to the metatextual dialogue of multiple arts. These metatextual dialogues might be compared to ‘artistic games’. They mix multiple ‘artistic games’ and experiment with the combination of their principles and rules. They are metatextually explaining the rules of ‘artistic games’ during these experiments by revealing the hidden and hiding the obvious. They try to bend some rules and break some rules without spoiling the ‘game’. We observe the types of the play principle in these arts and then we describe behaviour of these semiotic systems through the opposition of recursion and equifinality. We extract models of the theatre fractal and the film net, verifying the legitimacy of this point of view via an analysis of the film Being John Malkovich.
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