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SCÉNICKÝ DIZAJN A VIZUÁLNA KOMUNIKÁCIA. OD UMENIA K MARKETING

100%
Inštitorisová D.
Slovenské divadlo (Slovak Theatre)
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2022
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vol. 70
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issue 1
91 - 104
EN
The study explores the issues of theoretical and pragmatic thinking about scenic design, its means and practices. From a geographical point of view, the topic is examined mainly in the Slovak-Czech context and from a temporal point of view it covers mainly the last two decades. The basis of the analysis of the understanding of the concept of scenic design is a reflection on theoretical and partly artistic contexts that deal with dramatic, primarily theatrical works. The chosen examples represent structuralist, formalist, semantic, semiotic, scenological, architectural, design and marketing interpretations of the issue. The study also highlights those aspects of the traditional understanding of scenic design as scenography that have led to a major reception turn in recent decades. Within it, its non-artistic qualities have also been pointed out. The study works with comparative, analytical, synthesising and intersemiotic methods.
2
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DIVADELNÁ SCÉNOGRAFIA ARCHITEKTONICKÝCH OBJEKTOV

100%
Mazalán P.
Slovenské divadlo (Slovak Theatre)
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2018
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vol. 66
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issue 1
41 - 51
EN
Since the beginning of the 20th century theatre has developed a completely different form of expression tools. The development of architectural methods has reached the point where it is continually moving apart from its archetype to newer and newer intellectual encryption. The method of its creation and perception have been radicalised by means of new media to offer a greater extent of its own representation. Architecture in the context of our study will be represented by the scenography. Architecture will be explored in relation to a space and its inherent characteristics by means of heterotopy and synaesthesia. Space with its specific role becomes a sphere of imagination for the audience. The study does not consider the classical term of architecture as the building and scenography as a staging of decorative mise-en-scéne.
3
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REŽIJNĚ-SCÉNOGRAFICKÁ POJETÍ JEVIŠTNÍHO DÍLA CLAUDIA MONTEVERDIHO V BRNĚNSKÝCH INSCENACÍCH

88%
Havlíčková Kysová Š.
Slovenské divadlo (Slovak Theatre)
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2022
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vol. 70
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issue 2
203 - 224
EN
This study deals with some of the Brno staging of Claudio Monteverdi’s (1567 – 1643) musical scenic works. It devotes special attention to the legacy of the directorial school of the Czechoslovak opera director Miloš Wasserbauer (1907 – 1970), who was active mainly in Brno and, in the 1950s, also in Bratislava. The study is based on the research that focused on the staging of Monteverdi’s works in the Czech lands from their first instances up to the present (2022). Since some of Monteverdi’s scenic works have recently been restaged, the author of this study asks what topics are presented to the audience through these works and what challenges these works pose, especially with respect to the directorial-scenographic concept. The first part of the study looks back at the twentieth century, when Czechoslovak theatre makers first encountered Monteverdi; the second part deals with the present. Based on archival material on the staging and interviews with witnesses and contemporary producers, the author introduces the possibilities of staging Monteverdi’s works depending on the changes in the awareness of, and ideas about, Baroque opera theatre and the period’s staging practices. She asks what topics or what motives are important for the producers when presenting these roughly four-hundred-year-old works to the contemporary audience.
4
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VÍZIE ADOLPHE APPIU

88%
Mistrík M.
Slovenské divadlo (Slovak Theatre)
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2015
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vol. 63
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issue 4
315 - 327
EN
Adolphe Appia made many contributions to modern theatre direction. He authored some, although not many, theatre productions, and wrote books and studies. He drew his own sketches of what the productions he would make would be like. He focused especially on Richard Wagner’s musical dramas and theoretically proposed how the so-called Wagnerian drama (a term that he used as an equivalent of Wagner’s Wort-Tondrama) should be staged. The present study recapitulates his fundamental ideas about music, stage space, painting, light, actors and directors. Later Appia collaborated with Émile Jaques-Dalcroze and synthesized his knowledge in the book entitled The Work of Living Art. It is best expressed by a quote from Friedrich Schiller: “When music reaches its most sublime effect, it becomes a shape in space.”
5
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OPERNÍ SCÉNOGRAFIE JÁNA ZAVARSKÉHO

88%
Hrdinová R.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 1
32 – 48
EN
The present study aims to describe the work that Ján Zavarský, one of the most prominent contemporary Slovak scenographers, has done for musical theatre, mainly opera. The author draws on her years of experience as an audience member, production recordings, photographs, scene designs, and other documentation. Her study is the first attempt at mapping the language of expression that Zavarský has created in two decades, especially in cooperation with the directors Martin Otava and Karla Štaubertová. First, the author deals with the process of creation of a scenographic proposal in dialogue with a director, which gives rise to a scenographic and directorial concept of a production. It then proceeds to identifying the characteristic features of Zavarský’s approach to opera scenography, which include the architectural concept of the scene, simplicity of expression, formal and colour stylization, and the connection between scenography and the movement of characters on the stage. The study includes a list of Zavarský’s scenographies and photographs documenting the individual features of his work for musical theatre in approximately ten productions.
6
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RENESANČNÉ MOTÍVY V SHAKESPEAROVSKÝCH SCÉNOGRAFIÁCH JOZEFA CILLERA

88%
Inštitorisová D.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 1
22 – 31
EN
Employing a comparative method, the present study explores the Renaissance expression of Jozef Ciller’s Shakespearean scenographies. Based on an analysis of preserved archival material (scenographic proposals, photographs from productions, video recordings, reviews, etc.) and personal communication with Jozef Ciller, the author examines how he transposed general features of European Renaissance (visual arts, architecture) into individual scenographic solutions. The author’s analysis also aims to identify how Ciller worked with the architecture and scenography of Elizabethan theatre Renaissance and observe his work with Renaissance elements depending on whether a scenography was meant for indoors or outdoors. The author concludes that Jozef Ciller employs Renaissance elements as motifs to preserve the awareness of man’s Renaissance spirit and greatness.
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