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ASSOCIATION OF THE SLOVAK NATIONAL THEATRE

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Bokes F.
Slovenské divadlo (Slovak Theatre)
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2008
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vol. 56
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issue 2
236-258
EN
The study by a historian Frantisek Bokes (1906 -1968) from the beginning of the 60-ies of the 20th century has been preserved in the archives of the Cabinet of Theatre and Film of the Slovak Academy of Sciences. The study is dedicated to analysis of development in the period of the first years of existence of the Slovak National Theatre from the aspect of the social - administrative connections of the origin of the first professional theatre in Slovakia. The operator of the Slovak National Theatre was the Association of the same name, established in 1919. The chairman of the Association became the Minister with full powers for governing Slovakia Dr. Vavro Srobar. This Association became the holder of the licence for professional theatrical activity in the whole territory of Slovakia. The theatre season was shared also by Czech, German and Hungarian theatre troupes, so that several months in year the Slovak national theatre (SNT) was performing in Kosice and other Slovak cities. In the season of 1921/22 the Promotional Troupe of SNT was also formed. Its mission was to exclusively perform in smaller cities and to promote Slovak (or more precisely Czech and Slovak) professional theatre. While the Association was dealing with the issue of operation, mostly with raising needed financial resources, the goal of the SNT artistic management was to create the conditions for gradual recruiting the Slovak artists and introducing the Slovak plays. In 1923 The Association of the SNT mandated the so called Actors' House, which in 70 appartments faciliated to stabilize the artistic powers of three SNT troupes (drama, opera, ballet). In the course of year 1923 there was a significant complication in the sphere of financial situation of the SNT. After the Minister of Education and National Enlightenment had been changed (Dr. Srobar had been after two years replaced by the Minister Rudolf Bechyne representing the social – democratic party), the state subvention was decreased and the finance supervision was tightened. The result of economic pressure on the Association was in the end concluding an agreement between the Ministry and the Association of the SNT, which meant that the SNT management went over into hands of the private theatre entrepreneur, a famous conductor Oskar Nedbal. This in fact concluded development phase where the Association of the SNT had played a key role, and in further years it remained in position of a representaive- control body.
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A NEW BUILDING OF SNT - NEW ARTISTIC THINKING

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Mrlian R.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 2
151-162
EN
The author, a Slovak theatrical critic and pedagogue, participated in the negotiations on constructing a new theatre building for the Slovak National Theatre in Bratislava in the second half of 20-th century. Since, on 14th April 2007 this building was ceremonially completed, it is interesting to read his memories where he is returning to the period of considerations on the need of a new theatre space. The author is emphasizing that in the second half of 20th century in older, usually adapted theatre spaces, was impossible to use the modern technical aquisitions when producing staging. So, the effort to construct an entirely new theatre building was not only the ambition of the then social elite to build an expressive architectonic dominant of the new municipal part on the Danube bank, but above all to create the better conditions for the artistic creation.
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THE LAST ACT IN CONSTRUCTING THE NEW BUILDING OF THE NATIONAL THEATRE IN BRATISLAVA (2003-2007)

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Matasik A.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 2
245-327
EN
Since 1984 a new theatre building has been upgrowing in Bratislava. The regime of socialist nature not suspecting then that in five years will cease to end, had taken a resolution to invest into a grandiosely dispositionaly designed object with an independent scene for opera and ballet (900 spectators) for drama stagings (600 spectators) and an experimental flexible studio with capacity from 150 to appr. 250 seats. According to the original intentions the building was to be ready for the Slovak National Theatre by the beginning of 90s of 20th century, and even though the rough construction was assembled rather quickly, then tailing away began. After a turnover in 1989 the views on demolishing the construction were voiced out, since it had been thought to be a monument of the former regime. Resulting from a rapid inflation and price increase of all materials used, but also from the fact that many supplier companies had ceased, the construction was practically stopped in the half of 90s. In 1999 the Government adopted a decree on completing the construction in the election year 2002. Since this deadline was missed, the Government of Mikulas Dzurinda adopted a decision in 2003 about selling the building that was practically completed. After protests of the public and the opposition politics, the decision was changed and the Government started seeking the alternative ways of completing the construction. In 2004, the Government adopted the Memorandum on Understanding which enabled a private company Delaware (USA) to get control over the building, change the drama part into congress-shopping- entertaining complex and the site belonging to the building was to be used to construct a hotel. This step of the Government was met by a massive resistance. It was declined within the special meeting by the National Council of the Slovak Republic. The Council made it binding for the Government to complete the construction from public sources. On 14th April 2007 the theatre was dedicated with the most prominent representatives of the Slovak Republic present, and has become the residence of the Slovak National Theatre.
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BORODÁČOVI CHLAPCI NA STRÁŽI

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Maťašík A.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 2
158 – 171
EN
This study deals with the production of the play Chlapci na stráži [Boys on Guard], which was awarded in a competition organized on the occasion of the twentieth anniversary of the establishment of Czechoslovakia in the spring of 1938. It was written by Ján Borodáč, the artistic director of the Drama Company of the Slovak National Theatre, under the pseudonym of Ján Debnár. By the time it was premiered on 29 October 1939, there had been significant political changes. Following the Munich Agreement, Czechoslovakia, based on the decision of the prime ministers of France, Great Britain, Italy and Germany, had lost ethnically mixed Czech-German borderlands, President Eduard Beneš had offered his resignation and had gone into exile, and Slovakia had got the autonomy it was promised by the Pittsburgh Agreement (an obligation that had gone unfulfilled for long). The play which was supposed to celebrate the anniversary of the Czechoslovak Republic paradoxically acquired a new meaning under the pressure of these changes – it celebrated the autonomy and called for a defiance of revisionist pressures from Horthy’s Hungary.
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REMINISCENCE

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Valentova S.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 1
54-57
EN
A Slovak National Theatre drama protagonist, an actress Sona Valentova, was a wife of P. Haspra, the director. Her special reminiscence reminds the final phase of the director's life, his fight against the malicious sickness. He was resisting until the last moment, preparing for the staging of Dostoyevsky's 'Dedina Stepancikovo' (The Village of Stepantchikovo) which was to be studied by the troupe in connection to his life jubilee.
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HUMAN AND ARTISTIC VERSION OF IVAN RAJNIAK

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Mrlian R.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 2
230-276
EN
In summer of 2006 the Slovak theatrical artists and theatre supporters will commemorate two important jubilees - unaccomplished 75-th birthday of the actor, the member of the Slovak National Theatre drama troupe Ivan Rajniak, and 90-th birthday is to celebrate one of the founders of the modern Slovak theatrology, the academician Rudolf Mrlian. As a matter of a coincidence, both were born in a small village Hyba located under the Tatras, and the theatrologist R. Mrlian offered once a magazine to publish his monographic study on the actor I. Rajniak. The editorial office is, in the conviction that subconsciousness of continuity is a necessary prereqisite, publishing this study.
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HEREC SVETO HURBAN

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Maťašík A.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
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issue 4
339 – 352
EN
This study presents the profile of Sveto Hurban, a young actor from the drama company of the Slovak National Theatre. The grandson of Jozef Miloslav gained his first theatre experience in former Yugoslavia. First he attended an acting school in Novi Sad for two years and then, in 1928, he joined the company of the Serbian National Theatre. In spring 1929 he became a member of the drama company of the Slovak National Theatre. At first, he received only minor roles but he could make the most of them (see Števko in Tajovský’s Ženský zákon [Female Law]). Later he was cast into major roles. He played Satin in Borodáč’s production of Gorkij’s The Lower Depths, a leading part in Vladimir Hurban Vladimirov’s Či nepoznáte môjho synovca? [Don’t You Know My Nephew?] and Chekhovoi in Afinogenov’s Fear. His well-started career was, however, terminated by an unfortunate accident. On 30 July 1933 he went swimming in the Lower Land’s Danube and drowned at Zemun. He was buried in Stará Pazova, in a family tomb next to his father Konštantín and brother Cyril.
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SÚČASNÁ OPERNÁ TVORBA V REPERTOÁRI SLOVENSKÉHO NÁRODNÉHO DIVADLA V 60. ROKOCH 20. STOROČIA

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Mojžišová M.
Slovenské divadlo (Slovak Theatre)
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2018
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vol. 66
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issue 1
5 - 22
EN
The study deals with the increase in the introduction of modern opera production at the Slovak National Theatre in the 1960s. The author interprets it not only as an attempt of dramaturgy to enliven the traditional repertoire, but in particular as an ambition to apply more modern theatrical poetics in the production opera practice. Since there was no practice of updating classic opera production in Slovakia in the sense of “Regietheater” at that time, this production of the 20th century was considered to be the most realistic way of reviving opera. At the same time, the study highlights the social motivation of this intention: an effort to address a new, progressively oriented audience that would create appeal for a conventionally oriented audience that primarily focuses on the musical-vocal component of opera productions.
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PŮSOBENÍ MILOŠE WASSERBAUERA VE SLOVENSKÉM NÁRODNÍM DIVADLE V BRATISLAVĚ V PADESÁTÝCH LETECH A NA ZAČÁTKU ŠEDESÁTÝCH LET 20. STOLETÍ

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Havlíčková Kysová Š.
Slovenské divadlo (Slovak Theatre)
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2018
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vol. 66
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issue 4
362 – 379
EN
The article examines the work of opera director Miloš Wasserbauer during the 50s and at the beginning of the 60s of the 20th century in the Slovak National Theatre. The author analyses Wasserbauer’s approach to the productions and Slovak staging tradition from the perspective of the Czech director and the critical reflection of the performances. He focuses on the staging of new Slovak operas Ján Cikker’s Juro Jánošík and Beg Bajazid, and Eugen Suchoň’s Svätopluk. Special attention is paid to the conceptualisation of Slovak national feeling in the corpus of archive materials.
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VAVRO ŠROBÁR A VZNIK SLOVENSKÉHO NÁRODNÉHO DIVADLA

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Maťašík A.
Slovenské divadlo (Slovak Theatre)
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2015
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vol. 63
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issue 4
338 - 356
EN
The author follows institutional steps which preceded the beginning of the first Slovak professional art institution – the Slovak National Theatre (1920). Having done research into primary sources, he revises some surviving legends surrounding the beginning of the Slovak National Theatre, a result of the Czechoslovakist perception of development in the 20th century and a cult regarding Ján Borodáč as the first Slovak theatre professional. The author focuses especially on particular activities of Vavro Šrobár, a minister fully empowered to govern Slovakia (and at the same time Minister of Health of the Czechoslovak Republic), which resulted in his decision to engage Bedřich (Friederich) Jeřábek’s theatre company in Bratislava, where it operated under the name of the Slovak National Theatre. Activities related to the beginning of the professional theatre are followed against the backdrop of turbulent developments in 1918–1920.
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ON ERA OF THEATRE OF PAVOL ORSZAGH HVIEZDOSLAV

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Kret A.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 3
420-427
EN
In the spring of 2007 the dramatic troupe of the Slovak National Theatre (SNT) moved from the scene of the Theatre of P.O. Hviezdoslav and 'Mala scena' (Small Scene) into the completed premises of the National Theatre. The building of the Theatre of P.O. Hviezdoslav which had the theatre been provided from (with in) 1955 (opened by Borodac's production of Hviezdoslav's tragedy 'Herodes and Herodias' on 28th May 1955) after a half century lost the status of the local scene of the representative Slovak drama. The author who spent a substantial part of this period in the SNT drama as a dramaturgist, is in his recollection returning back to the most remarkable creative results of the theatre, connected with his activities in this building.
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PAVOL HASPRA - ON ONE EPISODE - A VERY LONG SERIAL

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Fejko S.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 1
89-84
EN
A process of the emancipation of a theatre from the position of an 'interpreter' of a poetic (ergo literary) work, typical for the 20th century European theatre, marked also Pavol Haspra's directorial creation. In the period of his coming to a professional theatre, a dominant position of a dramatist as a determining former of the resulting work of art, had not been not fully respected, but a conviction that a staging does not mean just a text 'animation', but a worthful and the original work of art, was gradually promoted. A theatrical dramatic adviser and a manager Stefan Fejko documents his implication on his co-operation with the director P. Haspra in preparatory work on Stefan Kralik's staging 'Margaret zo zamku' (Margaret from the Castle) in the Slovak National Theatre drama (opening on 19th January 1974 in the P.O. Hviezdoslav's Theatre).
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PAVOL HASPRA - 'JANOSIK' (FOLK HERO), SMALL BY GROWTH, GREAT BY ENERGY

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Svoboda J.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 1
27-31
EN
A director, colleague and peer of Pavol Haspra in a recollection feature talks about Haspra as about a director, whose trait is explosiveness, striking colours, sharp edges, rough and loud tones, an expressive abbreviation. He states that Haspra's stagings were built on the actors, and in the last phase he used to build on those 'his' ones who expressed their gratefulness by the professional efforts and perfomances in the plays with a strong dramatic conflict, full of the passion and the wild emotions.
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FAMILY AND SOCIAL CONFLICT IN TANGO BY SŁAWOMIR MROŻEK AND ITS PRODUCTION ON THE STAGE OF THE SLOVAK NATIONAL THEATRE

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Godovič M.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
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issue 3
281 – 296
EN
The study analyses the text of Tango by Sławomir Mrożek. It maps out the author’s shift from grotesques to dramatic text, in which he prophetically predicts the future of Polish and Central European societies. His capacity to reflect on actual reality, to make it unique and to derive from it the absurdity of the situation is not only a peculiar feature of the author but it also is characteristic of the East European style. The study also analyses social and family aspects of the play and their portrayal in the productions of the Slovak National Theatre (SND; 1967, 1997). Tango was performed on Slovak stages under different political regimes, which have markedly affected the concepts of individual directors. Despite the fact that it is not primarily a politically focused theatre play, it reflects upon the quintessential questions of the period having no straightforward answers. The study focuses on the naming of thematic lines, especially those that relate to social and family aspects which are most prominent in the concept of the play and to their transformation to stage form.
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NEW DIRECTION INTERPRETATION OF THE 19TH CENTURY CZECH OPERA (USING EXAMPLES OF THE PRODUCTIONS OF 'HUBICKA' BY SMOLIK AND 'RUSALKA' BY NEKVASIL IN THE SLOVAK NATIONAL THEATRE OPERA)

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Blahynka M.
Slovenské divadlo (Slovak Theatre)
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2008
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vol. 56
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issue 3
345-351
EN
The paper analyzes two production approaches to the interpretation of the 19th century Czech opera: to Smetana's 'Hubicka' (The Kiss, 1876), directed by Pavel Smolik in the Slovak National Theatre Opera, in 2003, and to Dvorak's 'Rusalka' (1901), directed by Jiri Nekvasil in the Slovak National Theatre Opera, in 2005. Both the directors have had a lucky hand in bringing the interpretation of these two operatic pieces up to date using the tools of modern direction theatre in opera. Both productions show a connection between the perception past of these operas and their contemporary interpretation, both production presuppose a critical involvement of the audiences who interpret the stage form on the basis of the perception past of these two operas. The stage forms of 'Hubicka' and 'Rusalka' capitalize on the diversity of relations between the text and their stage forms, thus opening new prospects for other production interpretations.
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CAMERATA SLOVACA – POKUS O SYSTEMATICKÉ PESTOVANIE KOMORNÉHO ŽÁNRU V OPERE SND

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Mojžišová M.
Slovenské divadlo (Slovak Theatre)
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2014
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vol. 62
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issue 1
81 – 95
EN
The activities of Chamber Ensemble of Slovak National Theatre in the seventies of the last century were a unique step in the systematic cultivation of opera genre on the first national scene. The ensemble was formed around the members of a chamber orchestra Camerata Slovaca and its founder, artistic director and dramaturgist - the conductor Viktor Málek. The ensemble staged seven opera productions in Slovak National Theatre. In terms of dramaturgy, we talk about the conceptual, style and genre-balanced program, in terms of musical and theatrical interpretation, the productions were in most cases quite a success. After the Chamber Ensemble of the Slovak National Theatre Opera ceased their activities, the baton in the cultivation of chamber music was picked by Chamber Opera, founded in 1986 at the Slovak Philharmonic, while Slovak National Theatre almost invariably resigned from staging chamber music pieces.
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STARÉ I NOVÉ TVÁRE EVY KRÍŽIKOVEJ. INOVATÍVNE PRVKY V TVORBE HEREČKY V ROKOCH 1968 AŽ 1989

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Mišovic K.
Slovenské divadlo (Slovak Theatre)
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2023
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vol. 71
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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.
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ACTOR OPPORTUNITIES OF MARIA KRALOVICOVA WITH MILOS PIETOR

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Polak M.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 3
462-470
EN
The author of a newly prepared monography of a jubilee actress of the Slovak National Theatre drama Maria Kralovicova, whose eightieth birthday in a full actor potential in her presence was commemorated by the Slovak theatrical public (born 7th June 1927) - how else, by the drama premiere in the Slovak National Theatre, is in a published chapter dealing with actress' cooperation with a director and actor Milos Pietor. Despite the fact it did not last long, for Kralovicova it meant a new source of actor and creative inspiration, helping her uncover new dimensions of her actor art. Milos Pietor became an internal director of the Slovak National Theatre Drama in 1978, even though he had performed several stagings with this troupe. In that period he had had an interesting artistic biography behind him and belonged to the most creative and inventive Slovak directors, who were opening new theatrical horizons of the Slovak theatrical art in this discipline. Milos Pietor possessed a well marked own dramaturgy, but also his way of leading actors was unique. Mainly his approach to model the actors in stagings was pointing at his own special handwriting stemming from psychology of a character and its real picturing. Undoubtedly, he was a dignified continuator of such personalities as Borodac, Jamnicky, Zachar or Budsky in a relatively short history of the Slovak theatre. The cooperation with Milos Pietor was definitely beneficial for Maria Kralovicova. Thanks to director's resolution, the new dimensions of actor art had been occuring in her acting in a greater extend - ranging from convincing psychological exploring, striking dramatic shape of the characters, moving towards abbreviation, stylization and hinting, to irony and grotesque. It was fruitful, with a result of ripe fruit of artistic actor creativity, representing the unforgettable characters that Maria Kralovicova had created under leadership of this director.
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PAVOL HASPRA AND HIS THEATRE OF PASSIONS AND EMOTIONS

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Matasik A.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 1
5-15
EN
A monothematic issue of the magazine the Slovak Theatre publishes the contributions which were presented at the 3rd Theatrological Conference in the cycle Today and Here held in Banská Bystrica on 9th December 2005. The conference was organized by the Cabinet of Theatre and Film of the Slovak Academy of Sciences, the Faculty of the History of Arts of the Academy of Arts, the Slovak Theatrological Society, the Association of the Slovak Theatrical Critics and Theoreticians and the Association of Philologists Self-Help with the contribution of the Minister of Culture of the Slovak Republic.The organizers formulated the topic: Pavol Haspra - Theatre of Passions and Emotions. Pavol Haspra, a theatre director, was for the period of four decades an integral part of the Slovak National Theatre drama and a significant personality of the Slovak theatrical history. The conference initiator, a theatrical critic and historian Andrej Matasik in the introductory study focuses on the characteristics of Pavol Haspra´s theatrical opinion. He observes that: It is known that by a stature, Haspra was quite short, but by his temperament and zest, and the ability to kindle others, by his eruptiveness and resourcefulness, he grew taller than his surroundings. Haspra - after acccessing to the Slovak National Theatre - became the director of mainly contemporary plays, and since he performed the substantial part of stagings in the sixties at Mala scena (The Small Stage) in Bratislava, in fact in the conditions of a chamber space where there is a close contact between an actor and a spectator, hence we can consider Haspra also the initiator and effecter of the cardinal transformation of the Slovak dramatic art in the sixties. The space of Mala scena (The Small Stage) was forcing him to ask for a maximum authenticity from the actor, since every single fraud could be easily detected by the spectator, and so deceiving by a magic of generous mis en scene, by a lofty and pathetic gesture, or a showy articulation of the text was beyond possibility. At the same time he was aware that these, very often seriously looking dramatic encounters of the antagonistic views, are just boring talks on positions, explanations of philosophical disputes, while for an eruptive explosion of an authentic emotion to happen, sometimes only a little mite is needed, other time just a neglected or tolerable impuls. This is why he was willing to painstakingly look for those naggings or ostensible reasons even where their occurence was just potential.
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UMELECKÉ ŤAŽENIE REŽISÉRA PETRA KONWITSCHNÉHO PROTI „MŔTVEJ OPERE“

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Mojžišová M.
Slovenské divadlo (Slovak Theatre)
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2019
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vol. 67
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issue 4
335 – 352
EN
The text deals with selected principles of the work of the German opera director Peter Konwitschny (1945). The lifelong ambition of an artist who openly proclaims a left-wing orientation is to distract the audience from consuming indulgence in beautiful music and make them a socially responsible, thoughtful participant in his productions. He has created, during his half-century career, a stable database of isotopes through which he fulfils his ideas, from curtain up in the auditorium to solutions resembling immersive theatre strategies. The author presents examples from several productions that Peter Konwitschny has directed on European stages, including the Slovak National Theatre in Bratislava.
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