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1

DRAMA QUESTIONS

100%
Sugiera M.
Teksty Drugie (Second Texts)
|
2005
|
issue 1/2(91/92)
60-71
EN
The text's basic thesis boils down to the statement that from the standpoint of transformations occurring in the theatre in the recent years, and in the light of texts written for the theatre, any question that may be posed today about drama as a literary kind or genre must as a rule be pointless. As per its still valid definition, as 'universalised' through our school education and recipient habits and expectations shaped by it, drama is an explicitly historic phenomenon, one that only encompasses some literary pieces designed for stage production - as part of the hitherto binding, although mostly unwritten or implied, interdependencies between the word and other means of expression. In order to prove the above thesis, the author shows the differences between the output of the absurdists, which still tends to be unjustly treated by most Polish scholars as the obligatory model of the most important avant-garde tendencies, and the most recent texts written for the theatre (incl., inter alia, the French parlecrit or the English Verbatim). The latter are situated against the background of theatrical aesthetics getting transformed as it is affected by (para)theatrical experiments (happening, fluxus, performance arts) inasmuch as by inter-media experiments, with video and digital/virtual arts coming to the fore. It is also proposed to discern between three basic performing-capacity tiers for our contemporary texts which cannot be situated within the hitherto binding paradigm, primarily due to their projected interaction with the viewers. These would require that new reception mechanisms, along with novel analytic and interpretative tools, be elaborated.
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Převod řeči do nemluvení a translace ticha do slov aneb Dramatická tvorba Věry Linhartové

100%
Jungmannová L.
Česká literatura (Czech Literature)
|
2010
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vol. 58
|
issue 2
231-239
EN
The article discusses two radio plays by Věra Linhartová (b. 1938), including their performance. It demonstrates that the chief means of utterance in both plays becomes the language that Linhartová always explores in relation to man. The first part of the text considers the distinctive critique of 'logocentrism' in the play Překladatel (The Translator, 1969), in which a parallel is posited between the act of translating and man considered ontologically. The second part of the article interprets Linhartová's search for the boundaries of rational representation. The play Přesýpací hodina (The Hourglass, 1970) depicts human thinking as a palimpsest, which, when deprived of the possibility of speech, loses its metaphysical quality. The article also analyses the experimental essence of the plays, which consists in their minimalistic plots, conceptually formulated characters, and 'abstract' settings, but also the playwright's experiment with the essentiality of a literary work intended for radio broadcast, when in her dramas she thematizes the problem of the performativity of verbal expression.
3

Romatyczne uniesienia. O dualistycznej naturze dramatu słów kilka

100%
Lesiak M.
Prace Literackie
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2010
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vol. 50
145-153
EN
Romanticism is a demanding and turbulent time for drama, not only from the point of view of genology. On the one hand, the genre is assigned tasks from the top, philosophical and aesthetical shelf (Hegel, Schelling), and on the other, the audience, as usual, shows its appreciation by going with pleasure to the theatre to watch melodrama and its derivatives, which act as effective catalysts for emotions. If we add to this the split nature of Polish literature (starting from Romanticism, Polish literature exists on two levels — of émigré and domestic authors), everything that refers to Romanticism seems to be non-uniform and divided. Is it possible that dualism omitted theoreticalreflection on drama? Were Romantic dramas intended to be performed on stage? Finally, was this duality supposed to help or hamper poetry (language), the very fabric of drama? This sketch is an attempt to answer the questions indicated above.
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Zabawa w teatr. Kształcenie językowe z wykorzystaniem perspektywy neurobiologicznej i psychoruchowych predyspozycji uczniów

80%
Kraszewska K.
Homo Ludens
|
2009
|
issue 1
123-136
EN
(Polish title: Zabawa w teatr. Ksztalcenie jezykowe z wykorzystaniem perspektywy neurobiologicznej i psychoruchowych predyspozycji uczniow). Introducing elements of drama techniques into the process of teaching foreign languages has a neurobiological justification. Research shows that several month old babies demonstrate linguistic sensitivity and readiness for linguistic expression. (L.A. Petitto, S. Holowka) This linguistic readiness is asserted through gestures and facial expressions. They are the first attempts at establishing a dialogue with the immediate environment. Taking advantage of theatrical activities during linguistic tasks aids the smooth transition from bodily communication to speech production, as it consolidates both forms of expression mentioned above. Research published in 'Psychological Science' demonstrates that gestures can play an important role in learning languages, directly affecting students, as gestures activate different sources of conveying meaning than speech itself. Words having visual-spatial meanings can be more easily expressed through gestures and movements rather than speech. (Iverson, Goldin-Meadow) Foreign language teachers can provide students with a greater range of self-expression by allowing them to use gestures and movements as well as introducing elements of drama techniques.
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JEZUITSKÉ DIVADLO V SPIŠSKEJ KAPITULE. DIVADELNÉ DRÁMY Z POLOVICE 17. STOROČIA

80%
Varšo M.
Slovenské divadlo (Slovak Theatre)
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2014
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vol. 62
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issue 2
188 - 202
EN
At the time when the elements of theatre were introduced into the everyday life of European royal courts, such tendencies influenced also the ways of staging religious events. Magnificent processions during major Christian holidays, announcements of the saints, carrying of relics became an impressive self-representation. It was the religious influence of the period which brought new impulses into drama. Horizontal of human world, which inspires commedia dell'arte and Elizabethan theatre, is completed by the vertical: Baroque Drama extends "from heaven through the world to hell." As such, it represents the restoration of the medieval cosmos transcendent. The basis of Baroque theatre represents tension between immanence and transcendence and every event on stage is a part of the history of salvation. The focus of our research is on the Jesuit College in Spišská Kapitula, representing a participation of north-eastern part of the Austro-Hungarian monarchy on the rich cultural life of Baroque Europe. General tendency towards dramatisation of life is represented, inter alia, by tireless creative activity of the Jesuits, supported by a few individual members from among the nobility and clergy. The author examines the preserved documentation for the productions Sapientia Salomonis Quesita et Possessa (1649) and Magnes Amoris Divini (1650).
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Drama na lekcjach języka obcego – o potencjale metody

80%
Marko A.
Homo Ludens
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2014
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issue 1(6)
87-100
EN
Drama in education is an approach that uses theatrical means for didactic aims yet focuses on the very process of learning, not on the result of classroom activities (e.g. preparing a theatrical performance). This method allows for combining the development of particular language skills with general educational aims, such as teaching tolerance, empathy and candour. Drama, usually associated with the kindergarten or primary school education, with teaching native language and literature, or with teaching history, can be successfully applied in the foreign language classroom, too. This article outlines the advantages of introducing drama in foreign language teaching: improving the communicative and intercultural competence, supporting the work on literary texts, or teaching culture.
7
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DIMITRIJ … ĎALŠÍ

80%
Hlaváčová A.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 2
126 – 141
EN
The author is opening a question of False Dmitri dramatic representation from the neglected religionist point of view. She argues against the simplification of the problem to dichotomy Latin – Byzantine (transposed to national terms as Polish – Russian) while such a reduction after the Council of Florence (1439) is almost absurd on the Slavic territory. Having introduced a subtle distinction between universal (Florentine) and local (Brest-Litovsk) Unions, she proposes to attribute it to historic characters and eventually, depending on particular drama, even to dramatic person. Arguing that the tragic conflict might have resulted from the misunderstanding of the Poles engaged in Brest-Litovsk Union (under Roman jurisdiction, 1595) and Dmitri (1605-6) being still a partisan of Florence (all byzantine-rite Christians under the jurisdiction of Constantinople), she rejects the possibility that Dmitri’s role had been purely instrumental in hands of foreign politics. Consequently, she favours Dmitri as bearer of noble truly ecumenical idea, but tragically compromised by the revelation of his false personal identity. Dmitri actually believed in possibility of ending the Time of troubles and opening Russia new horizons by liberating the Constantinople. His assassination witnesses for the limits of the role of an individual in a historical process and gives him new life in drama and on the stage. The study ends with the closer look on the most recent dramatic interpretation of Dmitri written by the Ukrainian-born dramatist V. Klim – example witnessing for the actuality of the topic.
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Teatralne gry fabularne (LARP-y) na lekcjach historii – raport z badań

80%
Mochocki M.
Homo Ludens
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2012
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issue 1(4)
149-172
EN
The report presents the results of a pilot study on the educational efficiency of Live Action Role Play as lessons integrating and revising large packages of subject knowledge. Early research results obtained in high-school history classes suggest an advantage of LARP over conventional revision. However, this data must not be considered as a final result, as the sample was relatively small (4 games, with 107 students in larp groups and 130 in control groups) and the execution of the research programme was incomplete. The tentative data needs to be confirmed in a large-scale study, and the research procedure needs to be improved, drawing on the experience from the pilot study.
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A TEARFUL PLAY BY JOZEF PODHRADSKY: HOLUBY AND SULEK. ONLY ONE-TIME PRODUCTION? (Klasika na jedno pouzitie? (Smutnohra Josefa Podhradskeho Holuby a Sulek))

80%
Cavojsky L.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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issue 1
37-63
EN
During his long life, the priest and educator Jozef Podhradsky (1823 - 1915) was also a writer, especially a playwright. He started as a romantic and ended as a messianist and symbolist. He wrote a lot, but his plays were hardly performed on stage at all. Anyway, he was very responsive and actual in his early work. He wrote a Shakespearean drama Holuby a Sulek (1850) as a personal testimony on struggle of Slovak people for civil, national and social rights in the revolution in 1848. It became a historical play even when staged for the first time, although it had been written as a contemporary piece. However, literary experts praised his poetic and documentary value. It took 131 years to premiere this play (1981, Slovak National Theatre in Bratislava). The production was a great social and artistic success, but withdrawn from the repertoire due to the political pressure. It was performed by the students of the Academy of Arts in Banska Bystrica for the second time in 2010. The play was directed and adapted for modern-days Slovak theatre by Matus Olha, who uses dramatized prose and old plays in their original language to create a specific form of contemporary professional and amateur theatre. He shows that it is possible to stage the plays by authors who were forgotten and translates classics into the contemporary language of theatre.
10
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INÁ DRÁMA V ROKOCH OSEMDESIATYCH

80%
Maťašík A.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 4
420 - 434
EN
The author builds on his previous study and continues analysing the early attempts to form alternative dramatics in the seventies of the twentieth century. He draws parallels between concentrated efforts of young theatre- makers to distinguish them from the conventional type of production dominating professional theatre scene at the time of normalization and attempts of the authors to break free from the mannerism of psychological realism, a form-creating base of so-called socialist realism in the field drama. In the eighties, the Theatre for Children and Youth in Trnava and A. Bagar Theatre in Nitra were the places of initiatives attempting to modernize the dramatic arts. In Trnava, B. Uhlár in collaboration with O. Šulaj as well as in his own texts emphasized the systemic critique of the social situation, using the means of grotesque, irony and sarcasm, which opened a discussion within the theatre ensemble. Apparent contradiction to Uhlár‘s political theatre were almost idyllic pastel and harmonious theatrical images by Juraj Nvota, created in collaboration with Miroslava Čibenková, Stanislav Štepka and the others. Team in Nitra, formed by the director Jozef Bednárik and the dramaturg Darina Kárová with the participation of visiting authors, (Vlado Bednár, Vincent Šikula, Andrej Ferko), was in more complex situation, because alongside the efforts of this group the theatre featured also original mainstream repertoire created in the conventional style of production. In the Theatre for Children and Youth, but also in other art groups (amateur ensemble DISK, A. Duchnovič Theatre in Prešov) Blahoslav Uhlár continued steadily and even more progressively his program, finally fully realized in the independent theatre STOKA in the nineties. Conversely, authors who entered the theatre in the seventies and eighties as discontented rebels eventually accepted some of the conditions whose fulfilment limited the acceptance among the officially respected individualities - and their works subsequently became a part of the prestigious Slovak theatres and were aired on television.
11
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Přijetí dramat Heinricha von Kleista v Čechách a na Moravě (1814–1990)

80%
Schultzeová B.
Česká literatura (Czech Literature)
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2011
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vol. 59
|
issue 5
678-697
EN
This article is concerned with the reception of the plays of Heinrich von Kleist (1777–1811), both in Czech translation and in the German original, in Bohemia and Moravia from 1814 to 1990. In the introduction the author discusses Kleist’s life and works, and provides a historical overview of the process of reception, from the first German performance in Brno, in 1814, and from the first Czech-language production in 1838 to Czech productions during the Second World War. Particular attention is paid to Katinka Heilbronská (1857), František Doucha’s Czech translation of Das Käthchen von Heilbronn oder Die Feuerprobe (1807–08). Breaking with contemporaneous custom, Doucha did not adapt Kleist’s original text to commercial theatre, but created a translation close to the original. In the next part of the article, the author praises Otokar Fischer’s translation and presents in detail Hugo Karel Hilar’s acclaimed 1914 production of Kleist’s Penthesilea (1808), one of the first examples of expressionist drama in the Czech milieu. The next part of the article discusses two Kleist productions at the National Theatre in 1942 and 1944 and the highly acclaimed Kleist anthology Záhadný nesmrtelný (1980), which was compiled by Jindřich Pokorný. It comprises Rozbitý džbán (Der zerbrochene Krug, 1806), Katynka z Heilbronnu (Das Käthchen von Heilbronn), and Princ Bedřich Homburský (Prinz Friedrich von Homburg, 1809–11).
12
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FAIDRINA VZBURA

80%
Koman M.
Slovenské divadlo (Slovak Theatre)
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2015
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vol. 63
|
issue 2
160 - 171
EN
This article brings an interpretation of Enquist’s drama For Phaedra from a political and social point of view. It compares it to the previous dramas based on the myth of Phaedra and Hippolytus written by Euripides, Seneca, Racine, Zola and Kane. It argues that having lost social and internal values, characters of the drama feel useless, which leads to a revolt against the system. For a better understanding of the main thesis of the article the author relies on psychoanalytical explanations which Enquist used in his comments and remarks on the drama. The author focuses on the evolution and changes in society, especially increasing material wealth that leads to the alienation of man, which allowed a critical application of the myth onto our society and its problems. The drama displays Enquist’s social democratic political attitudes. The characters are mirrored in each other with the only exception: the character of Theseus represents a man and politician in one person who has abused his power. He is changing history to what he wants it to be, and he considers his wife and the rest of the family as his property, not as human beings. Phaedra tries to seduce her son-in-law Hippolytus to revenge for Theseus’s behaviour. When Hippolytus dies and she commits suicide, the character of a cleaner appears. Theramenes and Aricia follow him to change the unjust political system.
13
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STARÉ I NOVÉ TVÁRE EVY KRÍŽIKOVEJ. INOVATÍVNE PRVKY V TVORBE HEREČKY V ROKOCH 1968 AŽ 1989

80%
Mišovic K.
Slovenské divadlo (Slovak Theatre)
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2023
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vol. 71
|
issue 2
173 – 197
EN
When she was entering her middle age, the actress Eva Krížiková (1934 – 2020), known to the audiences mainly thanks to her comic talents, faced the threat of being caught up in an uncreative comedy template. The early seventies, however, brought several precious drama opportunities for her, in which she proved her talents as a character actress. This study discusses in detail some of Krížiková’s achievements in acting, by which she showed that she was a performer of a wide artistic range. The author not only characterizes her emblematic creations and the directors’ strategies in casting her in roles but focuses mainly on the innovative elements of her enactment range, which she creatively developed or even newly discovered in an era of political pressure and suppression of free creations in the last two decades of communist rule in Czechoslovakia.
14
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SHAKESPEAROVSKÁ DRAMATIKA V TVORBE MILOŠA PIETORA: MEDZI PROLÓGOM A EPILÓGOM

80%
Sládeček J.
Slovenské divadlo (Slovak Theatre)
|
2018
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vol. 66
|
issue 1
23 - 40
EN
William Shakespeare’s work has a very specific place in Miloš Pietor’s professional biography: it starts at the beginning of the artist’s creative period and then again at the end of his professional life. The study is devoted to this part of the director’s work. It analyses the plays Merry Wives of Windsor (P. Jilemnický Theatre, 1963), Hamlet (Nová scéna Theatre 1974), comedy Love’s Labour’s Lost) (Nová scéna Theatre 1976) and presents the directorial and dramaturgical concept of Pietor’s first production after November 1989, The Merchant of Venice (1991). His planned premiere at the Slovak National Theatre did not take place; the work was cancelled due to the director’s tragic death.
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OSCAR WILDE

80%
Tinkova A.
Slovenské divadlo (Slovak Theatre)
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2005
|
vol. 53
|
issue 4
389-414
EN
Oscar Wilde's life, writing and mind were full of apparent contradictions, and many critics have interpreted this as a sign of fundamental insincerity. These contradictions were the result of a very deep cleft in his mental state. Two currents of feelings and thoughts ran through his life and gave his work the typical feature - paradox. It is very likely that Wilde loved paradox because it suited the peculiar duality of his attitude towards the world. The cleft in Wilde's emotional and mental life is so clear, and its influence on his work so strong, that any examination of his writing which does not investigate is necessarily superficial. The main aim of this study is to enlighten the essential elements of Wilde's aesthetics, philosophy and social attitudes by using a dialectic method of examination of Wilde's works and embracing both sides of his varied nature.
16

BOLDINO'S DRAMATICAL SERIES - 'LITTLE TRAGEDIES', II

80%
Stachurka M.
Slavia Orientalis
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2005
|
vol. 54
|
issue 4
527-550
EN
'Little Tragedies' appeared when Pushkin realized that his plays would not exist on the stage. It was the autumn of 1830. Dramas from Boldino presented the human fate with reference to different epochs and national characters. The poet decided to expose people's feelings. He resolved to present some real characters not an anonymous crowd. Internal conflicts of a tragedy were very distinct, but the author did not aim at moral assessment and bringing a solution to light. He only showed tragic contradictions. Dramatic studies referred to commonly known myths and norms, but they were presented in a new way. Pushkin's dramatic miniatures contain glittering monologues presenting internal dilemmas of the protagonists and dialogues manifesting their latent needs and thoughts. Innovatory activities of Pushkin, the reformer of the Russian National Theatre, consisted in binding together his features as a dramatist and a theorist of theatre. His theatre combined attributes of extreme realism, exceptional simplicity, and absence of effects and methods of artistic acting.
17
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HISTORICKÝ ZÁBER PUŠKINOVEJ “DIMITRIÁDY”. OD PANOVANIA VASILIJA II. TEMNÉHO PO TEMNÉ ČASY SMUTY

80%
Hlaváčová A.
Slovenské divadlo (Slovak Theatre)
|
2014
|
vol. 62
|
issue 2
176 - 187
EN
In his drama Boris Godunov, Pushkin did not work solely on the Time of Troubles, but having chosen events that happened around 1600 he opened up the older issues that shaped them. Namely this concerns the polarization that occurred after the Council of Florence (1439). Although this council confirmed cultural plurality and recognized both Latin and Byzantine ritual practices and wordings of the Creed as valid, it was rejected during the reign of Grand Prince of Moscow Vasily II, the Blind. Dmitry, a pretender to the throne of Moscow, wished to replace the seclusionist image of Russia as the last bastion of Christendom by his messianic vision of unifying Christendom and liberating Constantinople. The study points out to the fact that the word Eastern being replaced by the word Northern. The reason of this modification was Pushkin’s effort to be as historically accurate as possible. We should also acknowledge Pushkin’s evolution as a historian between 1825 and 1831. Such precision implies that in 1831 he had a deeper consciousness of the different histories of the Greek and Slavic parts of Byzantine Christendom. Moreover, by introducing an unusual adjective instead of the traditional opposition of Eastern–Western, Pushkin might have included both Poles and Russians in the term Northern Church. In Pushkin’s understanding, Dmitry the Pretender is clearly a representative of a third (Uniat) tendency. Dimitry’s position is not purely defensive if we consider his plan to liberate the city of Constantinople. He has the intention to do so as he is animated by the idea of the Union of Florence, persisting in his native Galicia and among Hungarian Uniats – remote both from Moscow and Rome. The tragic conflict might have also resulted from the misunderstanding around 1600 between the Poles engaged in the local Brest-Litovsk Union (under Roman jurisdiction) and Dmitry, who was still a partisan of Florence (all Byzantine-rite Christians under the jurisdiction of Constantinople). Therefore, Dmitry clearly stands for a more pluralistic cultural concept of Christendom.
18

THREE STAGE PRODUCTIONS OF 'FOREFATHER'S EVE' AS A DIALOGUE WITH THE WORLD OF THE MICKIEWICZIAN DRAMA'S IDEAS

80%
Kaczynska L.
Przegląd Humanistyczny
|
2005
|
vol. 49
|
issue 6(393)
61-77
EN
The article presents a comparison of three stage productions of 'Forefathers' Eve', different artistically and in their ideological concepts, by Jerzy Grotowski, Konrad Swinarski and Jerzy Grzegorzewski. There is an aesthetic and intellectual dialogue between the three outstanding stage producers and the national greatest drama; the way in which the art and the ideological polyphony in Mickiewicz's work are translated into theatrical aesthetics and different reinterpretations of the meanings, making the issues still valid, as well as presentation of the spiritual condition of the Polish society. The clash of those various shows, created in various times, allowed to depict how romanticism functions in the theater, and to spot the changes in comprehension of drama-theatre relations. Presentation of extraordinary theatrical visions and the exchange of viewpoints between the artists revealed the role of theatrical works in creation of the national tradition.
19

BYZANTINE-SLAVONIC SPIRIT IN 'FOREFATHERS' EVE' BY MICKIEWICZ

80%
Krysowski O.
Przegląd Humanistyczny
|
2005
|
vol. 49
|
issue 6(393)
33-44
EN
The leading motive of 'Forefathers' Eve' by Mickiewicz, the places of the drama's action, the characters' figures, the ways to communicate with God and the world of ghosts refer to the ideas typical of Byzantine-Slavonic spirituality and religious tradition. The work introduces the reader into the unknown to the western culture area of the Orthodox Uniate Church and its priest. It allows to look at the picture of the Holy Mother in the way eastern Christians do - with a sense of direct contact with sacrum. Thus it reveals a significant contest of interpretation, surprising with the variety of meanings.
20

Some remarks on Boguslaw Schaeffer's scores

80%
Hejmej A.
Teksty Drugie (Second Texts)
|
2006
|
issue 4(100)
41-46
EN
Known in the first place as a composer, music theoretician, playwright and graphic artist, Boguslaw Schaeffer holds quite a separate and unique position amongst his peer artists. This article puts an emphasis on the main traits of Schaeffer's 'aesthetics of the borderline', and traces the evolution of thought and various activities of this 'interdisciplinary artist' across the latter half of 20th century. The focus is on hybrid forms, overcoming the borders of, primarily, music and theatre (a 'new music'/'new theatre'), as well as the complex reception of works by the author of 'Quartet for four actors'. His ingenious understanding of music and of the phenomenon of contemporary score has led him, ever since his earliest works, to committing subsequent musical experiments, such as e.g. the concept of instrumental theatre, which, as a consequence, become decisive as to the specific form of stage plays written by this dramatist and composer.
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