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DIVADLO AKO ARCHITEKTÚRA PAMÄTI A NÁRODNEJ IDENTITY. RUSSIAN CASE – ZLATÁ MASKA 2018

100%
Spodniaková Z.
Slovenské divadlo (Slovak Theatre)
|
2018
|
vol. 66
|
issue 2
208 – 223
EN
The author focuses on selected productions of this year's special program category of the Russian Theatre Festival Golden Mask 2018 - Russian Case in Moscow. The comparison of the latest productions of different genres and artistic aesthetics reveals the common interest of their creators in urgent socio-cultural and historical-political themes. The Russian Case category introduced Russian theatre this year as an increasingly active tool for social engagement, which is concerned with the present or the past of the nation or individual. With the vision of a better future, creators confront themselves with collective and individual memories and seek ways to cope with them in an artistic and human way.
2
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DIVADELNÉ HISTÓRIE AKO HISTÓRIE PREDSTAVENÍ: VARIÁCIE, MOŽNOSTI A VÝHĽADY

100%
Lindovská N.
Slovenské divadlo (Slovak Theatre)
|
2015
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vol. 63
|
issue 1
3 - 14
EN
One of the essential methods specific for theatre research is the method of reconstruction of a theatre production. It is a significant tool of studying the history of stage art. Practice shows that a series of reconstructions of key theatre productions presents a good point of departure for recounting the history of theatre to both expert and lay public. The paper suggests possibilities of how the stage history of a theatre can be related while focusing its attention mainly on two existing models: the Russian history of the Moscow Art Theatre (1898–1998), published on the occasion of the centennial of this world famous theatre company, and the current project of the Theatre Institute in Warsaw mapping out the two hundred and fifty years’ history of professional theatre in Poland (1765–2015). The experience of Russian and Polish theatre researchers expands the range of methods available for research into theatre art and offers interesting possibilities and prospects for developing and communicating the gained knowledge to society.
3
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SÚČASNÉ RUSKÉ DIVADLO: SPOMIENKY NA BUDÚCNOSŤ

100%
Spodniaková Z.
Slovenské divadlo (Slovak Theatre)
|
2019
|
vol. 67
|
issue 2
172 – 191
EN
The year 2019 was declared the Year of the Theatre in Russia. The theatre not only maintains its important position here, but it is also an increasingly active tool for communication between creators and the public. In this context, the study focuses on the distinctive themes and forms of contemporary Russian theatre. It reveals the modern developmental tendencies of Russian theatre culture, which reflect both past and present and raise an urgent question about the future – personal, national and world wide. Through selected productions and theatrical personalities presented at the Golden Mask Festival 2019, the author captures the new approaches of creators to classical dramatic and prosaic works, as well as a way of reflecting on Russia’s history, its national symbols and myths in production texts by contemporary Russian playwrights.
4
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INTERPRETATION OF THE AUTHORIAL CREATION OF VLADIMIR VYSOTSKY ON CONTEMPORARY MOSCOW STAGES

88%
Spodniaková Z.
Slovenské divadlo (Slovak Theatre)
|
2018
|
vol. 66
|
issue 3
267 – 287
EN
The study presents an overview and analysis of contemporary Moscow productions inspired by the personality and work of the legendary Russian actor and poet of the latter half of the 20th century, singer and songwriter Vladimir Semyonovich Vysotsky (1938 – 1980). The author covers both the older productions which have been on the repertoires of theatres for several years and more recent productions staged this year on the occasion of the artist’s unlived 80th birthday. Researching on the productions by different theatre makers, staged by various theatres and drama ensembles, points at the importance and up-to-dateness of the creative legacy of Vladimir Vysotsky and at the significance of him as a personality that has become a legend and a component part of the cultural history of Soviet and post-Soviet eras. The productions constitute a significant part of the unwavering cult of his personality.
5
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REŽISÉR JURIJ ĽUBIMOV, LEGENDA RUSKEJ KULTÚRY

75%
Lindovská N.
Slovenské divadlo (Slovak Theatre)
|
2014
|
vol. 62
|
issue 4
372 - 381
EN
The theatre director Yuri Ljubimov (1917–2014) entered the annals of Russian and world theatre as a founder of the legendary Taganka Theatre in Moscow. In 1964–1984 the Taganka Theatre was the most famous theatre of the end of the Soviet era. Yuri Ljubimov took inspiration from Stanislavski, Meyerhold and Vakhtangov and enriched the Russian theatrical tradition with impulses from Bertolt Brecht. He created a modern theatre with a distinct civic attitude, untraditional repertoire and excellent acting company at Taganka Square. The Taganka Theatre was considered “an island of freedom” in the sea of Soviet bans and restrictions. The history of the theatre mirrors the history of the Soviet Union from the political thaw to perestroika. The present article describes the life and work of the director Yuri Ljubimov, the fate of the Taganka Theatre and the director’s conflict with it. It points out the role of Ljubimov’s long-term partner, the famous Russian film star Lyudmila Tselikovskaya, in the existence and formation of the Taganka Theatre’s repertoire.
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