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NÁČRT K PROBLEMATIKE REŽIJNEJ A DRAMATURGICKEJ TVORBY JANKA BORODÁČA POČAS JEHO PÔSOBENIA V KOŠICIACH

100%
Mišovic K.
Slovenské divadlo (Slovak Theatre)
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2019
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vol. 67
|
issue 1
23 – 39
EN
This article deals with the still barely explored theatrology during the era of Janko Borodáč in the Košice theatre, where he was appointed as a director due to political influences in 1945. In less than a month, Borodáč was able to consolidate the theatre, consisting of three ensembles, which gradually managed to achieve success on a national scale. After 1948, when Communist ideology forced artists to incline towards socialist realism, Borodáč’s theatrical method, which until then was considered archaic, proved to be very productive for the Košice theatre. Borodáč, being an expert in the Konstantin Sergeyevich Stanislavsky method, was able to avoid the simplistic, vulgarizing deformations, characteristic for this period, of psychological realism. On the contrary, he created his productions within the spirit of the true essence of the Moscow inhabitant’s style. Thus, the study tries to indicate the historical context of Borodáč’s inclination to Stanislavsky’s method and to identify the basic dramaturgical curriculum as well as the directing achievements of the Nestor on the Košice scene of Slovak theatre.
2
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JANKO BORODÁČ – ANDREJ CHMELKO. DVE CESTY – JEDEN SMER

100%
Himič P.
Slovenské divadlo (Slovak Theatre)
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2019
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vol. 67
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issue 1
40 – 57
EN
The study deals with the not very well documented relationship between the founders of Slovak professional theatre following World War II. The relationship between Janko Borodáč, director of the East Slovak National Theatre in Košice, and the artistic director, Andrej Chmelko, have long been perceived as art-related, predominantly only in one direction, with the clear dominance of Borodáč. The work analyses the artistic and human interconnections of their relationship contributing to the decisive moments in the creation of the Košice Theatre, which had for many years determined the artistic level of all its ensembles.
3
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NEZNÁMA (HERECKÁ) TVÁR JANKA BORODÁČA

100%
Mišovic K.
Slovenské divadlo (Slovak Theatre)
|
2020
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vol. 68
|
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.
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