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RETURNS, CROSSROADS AND PATHS: HOLOCAUST IN THE SLOVAK DRAMA IN THE PERIOD OF 1945-49

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Robertsova D.
Slovenské divadlo (Slovak Theatre)
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2005
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vol. 53
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issue 4
344-355
EN
In her contribution the authoress analyzes how two prominent Slovak dramatists Peter Karvas and Juraj Váh expressed, shortly after the end of the Second World War, their attitudes towards questions of identity, memory, time and space. Plays 'Return to Life' by Peter Karvas and 'Silence' by Juraj Váh, which are describing war experience, include elements composing the core of the Jewish post-holocaust thinking, which can be perceived as emblematic or even cliché elements. However, the afore-mentioned drama plays present in the Slovak context the beginning of an authentic experience transformation into a literary form. The authoress is from the aspect of literary-scientific analysis dealing also with motives of guilt, invisibility and deafness, as well as with the method of creating a talk and the function of silence.
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RETURN OF PETER KARVAS DIRECTED BY PAVOL HASPRA

100%
Matasik A.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 1
62-69
EN
A few days before Christmas in 1969 the opening of Karvas's play 'Abslolutny zakaz' (The Absolute Prohibition) took place at 'Mala scena' (The Small Stage) of the Slovak National Theatre. Short after this opening, one of the most prominent Slovak dramatist had become the one to whom an absolute prohibition applied very personally. Karvas even after having been expelled from the theatre did not stop writing. From that period comes also the detective play 'Sukromna oslava' (The Private Party), which was the play he had come back to the theatre with, after the lapse of almost twenty-two years. The theatrical critic and theoretist Anrej Matasik states that Haspra, being an experienced practician, must have been aware after first reading that 'Sukromna oslava' (The Private Party) was not the kind of a play to show off the director's ability to create a theatrical magic and thus impressing the audience by a geyser of the fancies. Despite that, he as a director sensed, that it was his moral responsibility - to be present when unjustice commited at undoubtedly the most significant playwright of his generation, was eventually redressed. He was proud to have been at Karvas's returning back.
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