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1
Content available remote

PODOBA A FUNKCIE SÚČASNEJ SLOVENSKEJ DIVADELNEJ DRAMATURGIE PO ROKU 2000: PREMOSŤOVANIE ROKOV DEVÄŤDESIATYCH

100%
Knopová E.
Slovenské divadlo (Slovak Theatre)
|
2013
|
vol. 61
|
issue 3
206 - 218
EN
Since the 1990s Slovak theatre has been affected by several phenomena: the changing attitude of the public to theatrical art, who seems to be losing interest in this art form, the degradation of the systematic, conceptual, artistic and forming function of the dramaturge, and the loss of an in-house dramaturge or director who would be consistent in performing this function. Theatrical space has been filled with freelance artists wandering from theatre to theatre, offering attractive productions or adopting them on the impulse of theatre managements. We witness the strengthening of the powers of directors and art directors who often succumb to commercial and operational pressures, but also their personal tastes and convictions. Secondly, we witness the continuing trend of ‘directorial theatre.’ The individual theatres still prefer working on projects, and therefore, the repertory depends on the offer of guest directors, who bring their own dramaturges to the theatres, sometimes not being familiar with the wider context or lacking the ambition to work with the theatre company and the audience in the long term. We also witness a disruption in cooperation between a theatre’s dramaturge and translators, authors, visual artists and so on. Only few dramaturges have their own workshops that enable them to have a systematic and long-lasting cooperation, for example, with authors writing new plays or directors preparing new productions.
2
Content available remote

REFLEXIA EURÓPSKYCH HODNÔT V SÚČASNOM SLOVENSKOM DIVADLE

100%
Knopová E.
Slovenské divadlo (Slovak Theatre)
|
2019
|
vol. 67
|
issue 2
105 – 128
EN
The study deals with the identification of a representative sample of topics that have entered the artistic and social discourse through production work in Slovak repertoire theatres over the last three years (2016 – 2018). It gives them an implicit point of view from the perspective of thematic dramaturgy and so-called post-dramaturgy of feelings, as well as from the perspective of European values recorded in current sociological surveys. The author, by comparing the results of the European Values Study, the goals and values represented by the European Union as a community and the topics raised by the Slovak theatre (the so-called established and repertoire theatres), tries to establish whether or not and if so – how, our theatre communicates through the reflection of the themes and their interpretation with the attitudes of Slovak and European citizens. For example on the issues such as identity, family, threat, tolerance, Islamization of the old continent, protection of democracy, but also legitimization of traditional values liberalisation.
3
Content available remote

DIVADLO PRE VŠETKÝCH A JEHO SVIATKY (AVIGNON, WIESBADEN)

88%
Mistrík M.
Slovenské divadlo (Slovak Theatre)
|
2012
|
vol. 60
|
issue 3
322 - 342
EN
Theatre festival is a typical social act that creates space for the wider social debate on the performing arts and a platform for labelling trends. The French festival in Avignon is the successor of the Jean Vilar’s idea about the popular theatre for everyone. The study looks at how this year's Festival d'Avignon 2012 has reflected and manifested these theoretical concepts in the individual events. In the same manner, the study reports on a New European Drama festival in Wiesbaden, on its direction and on the position of Slovak theatre within this context. The study is not a description of the details but explores how the contemporary theatre responds to the social, political and psychological problems of today and thus, how methodically close or distant is from reality, practical truth and veracity of artistic image.
4
Content available remote

HOW DO WE READ, HOW DO WE TRANSFER THE DRAMA OR THE THEATRE TEXT ON THE STAGE? (Ako dnes citame, inscenujeme dramu, divadelny text?)

75%
Podmakova D.
World Literature Studies
|
2010
|
vol. 2 (19)
|
issue 4
25-38
EN
The paper deals with the transfer of the text to the stage. Dramatization of a prosaic work and language translation has an impact on the relations between characters, their nature (character). Modifications of structure of the work brings fundamental often even genre changes which in interaction with other stage elements (staging, playing, scenography and others) substantially influence the final image of the production. The authoress proves the ability of the theatre to speak of the present through word or image using concrete works/productions (Zensky zakon by Tajovsky, HOLLYROTH created from texts by J. Holly, Pustokvet by Vajansky, Tiso created from speeches by Jozef Tiso, and other stage works). The literary work constitutes the basis for the performance text, even though non-text, non-verbal production is created.
5

Węgierska Operetka. Rola muzyki Piotra Salabera w spektaklu Andrzeja Bubienia w Nemzeti Szinhaz (Teatrze Narodowym) w Budapeszci

75%
Demby Ł.
Kwartalnik Filozoficzny
|
2017
|
vol. 45
|
issue 4
211-219
EN
Łucja Demby’s article considers the performance produced at the Nemzeti Színház (National Theatre) in Budapest, based on Witold Gombrowicz’s drama Operetta and created by two Polish artists: the director, Andrzej Bubień, and the composer, Piotr Salaber. The author’s primary focus is the function of music in this production. Although in his drama Gombrowicz referred to the operetta as a music genre, he was not really concerned about the musical setting of its prospective stage productions. He viewed operetta as a symbol of the old world order, a caricatured image of the obsolete form. The grotesque was the form of art that interested him most. Their collaboration with the renowned Hungarian theatre enabled the Polish artists to approach Gombrowicz’s drama in a modern way. This was partly due to the fact that in Hungary the genre of grotesque has not developed as much as it has in Poland, whereas Viennese operetta has got a long tradition. The article highlights the way in which the music of Piotr Salaber, which is present during the whole performance, tells about the destruction of the old world and illustrates the deconstruction of Gombrowicz’s form. The Budapest National Theatre production was presented at the 11th International Gombrowicz Festival in Radom in October 2014 and won the Grand Prix.
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