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1
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THE THREE SISTERS OF FOUR DIRECTORS

100%
Rohac T.
Slovenské divadlo (Slovak Theatre)
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2008
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vol. 56
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issue 3
326-328
EN
Based on four productions of Chekhov's 'Tri sestry' (The Three Sisters, 1972, 1994, 2003, and 2008) the author contemplates the fate of the Prozor sisters while taking account of the time periods of the individual productions and of the poetics of four directors (Milos Pietor, Sona Ferancova, Svetozar Sprusansky, Roman Polak). Not only external theatrical signs but also the inner life of characters and the feelings of the audiences are put to use.
2
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SCHÉMA KONTRA IMAGINATÍVNOSŤ – DVA NOETICKÉ PRINCÍPY NORMALIZAČNÉHO DIVADLA

80%
Maťašík A.
Slovenské divadlo (Slovak Theatre)
|
2012
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vol. 60
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issue 2
142 - 149
EN
The author deals with the development of Slovak professional theatre in the period before and after the occupation of the former Czechoslovakia. He highlights the situation in dramaturgy, which after a period of relative freedom and openness to influences from other cultures fell after 1970 under the pressure from dogmatists, demanding re-isolation of Slovak art from parallel processes in Europe and worldwide. The author shows how prominent personalities of Slovak theatre as well as the younger artists reacted to the pressure of political normalisation.
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PODOBA A FUNKCIE SÚČASNEJ SLOVENSKEJ DIVADELNEJ DRAMATURGIE PO ROKU 2000: PREMOSŤOVANIE ROKOV DEVÄŤDESIATYCH

80%
Knopová E.
Slovenské divadlo (Slovak Theatre)
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2013
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vol. 61
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issue 3
206 - 218
EN
Since the 1990s Slovak theatre has been affected by several phenomena: the changing attitude of the public to theatrical art, who seems to be losing interest in this art form, the degradation of the systematic, conceptual, artistic and forming function of the dramaturge, and the loss of an in-house dramaturge or director who would be consistent in performing this function. Theatrical space has been filled with freelance artists wandering from theatre to theatre, offering attractive productions or adopting them on the impulse of theatre managements. We witness the strengthening of the powers of directors and art directors who often succumb to commercial and operational pressures, but also their personal tastes and convictions. Secondly, we witness the continuing trend of ‘directorial theatre.’ The individual theatres still prefer working on projects, and therefore, the repertory depends on the offer of guest directors, who bring their own dramaturges to the theatres, sometimes not being familiar with the wider context or lacking the ambition to work with the theatre company and the audience in the long term. We also witness a disruption in cooperation between a theatre’s dramaturge and translators, authors, visual artists and so on. Only few dramaturges have their own workshops that enable them to have a systematic and long-lasting cooperation, for example, with authors writing new plays or directors preparing new productions.
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ELENA ZVARÍKOVÁ PAPPOVÁ. FEMME FATALE SLOVENSKÉHO HERECTVA

80%
Mišovic K.
Slovenské divadlo (Slovak Theatre)
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2019
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vol. 67
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issue 4
353 – 378
EN
Elena Zvaríková Pappová (1935 - 1974) was one of the most distinctive phenomenon’s among Slovak actors in the second half of the 20th century, but to this day her artistic profile has not been comprehensively researched. The most interesting period of her career was associated with her engagement at the Theatre of the Slovak National Uprising in Martin (1954 - 1968). To begin with she played marginal characters and genre figures, but from the late fifties she gradually became one of the leading protagonists’ of the ensemble. She mastered coping with stage stylization, but she felt at her best in civilian theatre poetics. In which she found a suitable medium for the believable portrayal of her character's internal conflicts and contemplation for the drama of the characters she played. She was typecast in roles of Plebeian, dominant and unrestrained women. Her corpulent appearance combined with her individual sense of humour was regularly used by directors in the comedy repertoire. Yet she also became a sought-after representative of fateful women who brought sexual irritation and fierce animality to the stage. The subsequent transition to the drama of the Slovak National Theatre in 1969 meant a sharp drop in her acting opportunities.
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SLOVENSKÉ DIVADLO V PROSTREDÍ SPOLOČNOSTI – OD 80. ROKOV 20. STOROČIA PO DNEŠOK

80%
Podmaková D.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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issue 3
208 – 2017
EN
The paper provides a brief overview of the role of the theatre, its artistic and social functions during the indicated time period. It characterises the relationship between society and a theatre and against, and also the financial issues underlying this bond and the status of the theatre professionals. Through changed socio-political conditions after 1989, new opportunities have opened up to creative professionals who, at the same time, have lost their theme of a tacit revolt against the system and the metaphor as the major tool for naming “no-freedom“, shut-down state borders and for the non-existence of personal prospects. On the one hand, the open European space allows for exposure to new cultures, on the other hand, however, it is conducive to the unification of (self)-themes, of the role of an individual in the family and in society, to the grey mediocrity of quality, and to favouring form over content. Economic and, oftentimes, technocratic thinking would indirectly impact the value system of the theatre arts, its mission in the over-technologized world. The artistic functions of the theatre are bound to be defined and created by creative professionals (this holds provided that critique has a set of criteria applicable both within the theatre arts and vis-à-vis the society). The societal functions ought to be a component part of a knowledge-based society, with special concern for the cultural development of the society.
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MESSAGE OF INTER - WORLD WAR AVANTGARDE IN THE SLOVAK THEATRE III. TO POETICS OF MARIONETTE THEATRE ON THE BREAKTHROUGH OF CENTURIES ( TRANSFORMATIONS OF POETICS OF MARIONETTE THEATRE ON THE BREAKTHROUGH OF 20th AND 21st CENTURY)

80%
Panovova O.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 4
591-600
EN
Transformations of poetics on the breakthrough of 20th and 21st centuries in the Slovak marionette theatre are outlined by the authoress in broader circumstances, with the background of avant-garde and studio theatre movements mostly in Bohemia. Entering of a live actor into the marionette theatre stage caused the most significant changes of poetics. Under this influence the marionettists disentailed from the tutorship of illusion play, freed from interpretation and stage director theatre and thanks to this, the marionette theatre has become close with the movement of unofficial experimental groups, has freed itself from isolation. A trend to leading to an increasing participation of live actors which started in 1959, has reached bigger size after 1989. Positive results brought through this impact could be seen in the Slovak marionette theatre in the 90-ties, in overtaking methods and programme of author's theatre which had been worked out by the Czech studio theatres in the seventies. An absolute novelty is also the interest of marionettists into paratheatrical, therapeutic theatre activities (Doctor Clown, mentally handicapped or with hearing loss handicap and so on), what also belongs to developing of the message related to inter - war avant-garde.
7
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PAVOL UHER - DIRECTOR, BOTAFOLOGIST

80%
Dzadikova L.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 4
638-657
EN
Pavol Uher was born on 4th November 1948 in Svit. His journey to theatre was leading through recitation, own literary creation, violin playing, and director recalls also a meaningful experience earned from visiting a circus performance. After school leaving examinations in Poprad he started studying marionette dramatic art at the Theatrical Faculty of Academy of Fine Arts in Prague. After a year he changed to study marionette stage direction and dramaturgy. He had finished study on 1971 and soon after became an internal director of the Regional Marionette Theatre in Banska Bystrica, later he started working in the State Marionette Theatre (SMT) in Bratislava. Even in his first stagings Uher indicated a wide range of his creativity. At the age of 33 in 1982 he emigrated to Germany. According to his own words, he had left his country not only due to political reasons, but also due to bad working conditions and also because of the fact that the theatre (SMT) was then headed by people who though having been professionally on a low level, had the power to decide what and how had to be done. The authoress of the study (a selection from the bachelor thesis work at the Theatrical Faculty of University of Fine Arts) is focusing at the reconstruction and analysis of the cycle of Uher's 'Botafogo stagings', and is dealing with plays by L. Feldek which are connected through the character of the main hero - Botafogo. The cycle is composed from five theatrical texts: Botafogo, Botafogo in Boots, Play where Sleeping Is Taking Place, Botafogo's Wealth and the fifth part dedicated to an adult spectator (later on remade into a play Metafora) Botafogo without a Head. Pavel Uher worked up several important stagings. He was fortunate to have strong dramatic personalities around him (Jozef Mokos, Katarina Revallova) and also thanks to cooperation with them he could produce interesting and original titles.
8
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JÚLIUS VAŠEK. HEREC DUŠEVNÝCH ROZPOROV

80%
Mišovic K.
Slovenské divadlo (Slovak Theatre)
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2022
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vol. 70
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issue 4
365 - 389
EN
The history of the Nová scéna Theatre is still a non-preferred and inadequately researched field in Slovak theatre research. Although the members of its drama ensemble have been prominent figures of Slovak culture, they have not received specialized theatrological attention. They include the actor Július Vašek (1926 – 2009) who, mainly in the 1950s and ‘60s, played crucial roles in the repertoire of Nová scéna and became popular also due to his regular performances in television and films. On the one hand, this study tries to name his dramatic individuality, specify his means of expression, and examine the strategies of the directors in casting the actor in roles of asocial individuals and criminals. At the same time, through Vašek’s artistic career, the author of this study tries to map the turbulent staging and socio-political history of this second drama theatre in Bratislava, since the actor received roles in it shortly after its birth in the 1950s and retired from it in the early 1990s, when the theatre entered a different phase of its existence.
9
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HĽADANIE NOVÉHO DRAMATIKA (SEDEMDESIATE ROKY 20. STOROČIA V SLOVENSKOM DIVADELNOM KONTEXTE)

80%
Maťašík A.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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issue 4
349 – 365
EN
In the sixties, Slovak Theatre eagerly adapted modern European and world drama and did not hesitate to stage inventive interpretations of home and foreign classics and some of their outstanding productions even earned respect in the wider European cultural context. Since 1965, Slovak theatres staged only a few original plays written by Slovak playwrights that could withstand the demanding criteria and deserve to be staged again. In the early seventies, the majority of Slovak dramatic productions were just variations on a reliable model of psycho-realistic „images of life“ The model of drama employed by Karvaš tried to form a more or less logically constructed model story with the real world characters and situations that would reflect everyday experience and feelings of the audience. This approach to dramatic text was only modestly questioned by the practice of a small group at the end of the sixties and early seventies still beginning amateur artists, such as Stanislav Štepka and Milan Markovič in Radošina Naive Theatre, Ivan Hudec and Ján Belan in Theatre at Roland, Karol Horák and student theatre at the Faculty of Philosophy in Prešov UJPS and young students in the Theatre Behind the Gates in Bratislava and later their younger followers, who wrote their texts directly with the idea of their practical implementation. In the first half of the seventies, a strong generation of young artists gradually integrated into the Slovak professional theatres. Rather than „truth“, they preferred the stage imagery and metaphor, rather than practiced precision they preferred playfulness. An important attribute of texts that young theatre makers consistently sought for and which they directly inspired was the resignation from the classical structure of the dramatic text construction. The significant difference between the older and younger generation of playwrights was the rejection of the principle of process causality in the construction of situations and characters. Another significant and defining feature common for this new type of plays that were gradually added into the repertoire of Slovak ensembles thanks to the young staging teams was a strong reluctance to word as a bearer of meaning. The second half of the seventies was a turning point, when the creative energy of young theatre artists generated the first dramatic texts written for the needs of specific ensembles and respected the effort of particular theatres to modernize their repertoire.
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CASUISTRY OF DIE KLEINBÜRGERHOCHZEIT (A RESPECTABLE WEDDING) BY BERTOLT BRECHT IN SLOVAK THEATRE: A STRUGGLE FOR VALUES

80%
Knopová E.
Slovenské divadlo (Slovak Theatre)
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2021
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vol. 69
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issue 3
229 – 247
EN
The study explores the one-act play Die Kleinbürgerhochzeit [A Respectable Wedding] by Bertolt Brecht and its productions in Slovak professional theatre. The authoress elaborates on expert reflection and viewers’ reception of key productions from the perspective of Brecht’s requirements of theatre, which should be entertaining and informative at the same time. The first staging of Die Kleinbürgerhochzeit under Ivan Krajíček’s direction in 1978 created the basic comparative and evaluative basis for future stage adaptations of the one-act play. The study deliberates the production sequence through a lens of casuistry: individual productions represent how the creative professionals communicated forms of appropriate and inappropriate behaviour and declining social morality. They moved from the critique of the petty bourgeois class to capturing an entire modern society in which values are absent. As in other European countries, Brecht became the author through whom the struggle for values was fought in Slovakia. It was the last performance of Die Kleinbürgerhochzeit (Slovenské národné divadlo – Slovak National Theatre, abbr. SND, 2013, directed by Diego de Brea) that provoked controversial social reactions and brought about an interesting shift in expert reflection – from the evaluation of the artwork, the interest of critics and creators shifted to the evaluation of the audience (lack of orientation in art and taste)
11
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SLOVAK THEATRE AND THE CHANGES OF GENERATIONS (Generacne preskupovania v slovenskom divadelnictve)

80%
Matasik A.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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issue 1
14-26
EN
The author examines the formation of every generation of artists that has contributed to the shaping of Slovak professional theatre. In the late thirties, a generation of young artists already trained at the Bratislava Academy of Music and Drama entered the world of theatre and gradually replaced the founding generation around the director Jan Borodac. Although their formative process was not completed until after World War II, they had a decisive influence on the development of Slovak theatre until the 1960s. At the turn of the 60s and 70s, for the first time a new generation stepped forward not only as an alternative to the efforts of their senior colleagues, but also on the basis of consensus and unity. Between 1968- 1971 a group of actors, directors and others involved with the Divadlo na Korze (Theatre on the Corso) laid the foundations for a new artistic program that was later extended, modified and directly or indirectly accepted widely among theatre artists during the seventies and eighties. The fourth generation of theatre artists should logically have followed, but the social changes have brought the withdrawal of the theatre from its previous positions in the social hierarchy. Only an increased interest of commercial TV companies in the production of original Slovak TV series and the renewed public interest in such production gives us some hope that a new artistic program as a platform for a new generation of theatre artists might appear recently.
12
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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.
13
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OUT OF THE THEATRE

80%
Ulicianska Z.
Slovenské divadlo (Slovak Theatre)
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2008
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vol. 56
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issue 3
314-318
EN
The author elucidates the trend of the conversion of non-theatrical space to meet the needs of theatrical productions (sweeping conversions, or, remodelling for one off space use). In addition to a general characteristics of site-specific productions and giving examples from other countries, she maps out the situation in Slovakia, such as in 'Stanica Zilina-Zarecie' (The railway station Zilina-Zarecie), 'Divadlo v podpalubi na Lodi' (The Lower-deck Theatre on a Boat) on 'Tyrsovo nabrezie' (Tyrs Embankment) in Bratislava, and the 'portable' site specific space of 'Teatro Tatro' and other nontheatrical spaces.
14
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POSTMODERN THEATRICALITY IN CREATION OF VILIAM KLIMACEK

80%
Palenikova Z.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 4
658-675
EN
The authoress, a student of the Theatre Faculty of Academy of Fine Arts in Prague as a dramaturgist initiated the production of Klimacek's play 'Maria Sabina' with the drama students. Based on this practical experience and knowledge of the theatrical texts of the most performed Slovak author nowadays, she afterwards drafted her theoretical contemplation on his creation. She was documenting author's advancement from the occasional scripts for cabaret shows of an amateur troupe GunaGu, which he had co-founded, until the years of his professional work (in nineties he gave up his career to focus on his profession of a writer).
15
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METAMORPHOSES...

80%
Podmakova D.
Slovenské divadlo (Slovak Theatre)
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2008
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vol. 56
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issue 3
279-281
EN
This past decade, we have been witnessing marked changes in the Slovak theatre, which are more about poetics and the manner of the theatrical production of our time rather than the institutional nature of the theatre. To put it differently - they relate to the sets of the knowledge of artistic devices creating different styles and directions in modern drama and dramatic expression of theatre artists. Would it be proper to talk about new trends? Artistic trends? Or would it be more appropriate to just talk about differences? Subsequent to 1989, the new socio-political and economic orientation has ushered in new themes and forms and eroded the well-established traditions of the Slovak theatre. It has prompted a dialogue between various economic and political systems on the one hand and artistic freedom on the other. Not all of us are prepared to approach this freedom as an opportunity to broaden up one's horizons of knowledge. This is especially true of the older generation of theatre artists who are not particularly keen to follow the modern theatre (but, there are also exceptions, and the best proof is the current edition of The Slovak Theatre), whereby they argue by making reference to similar trends in the 1960s and that, in fact, there is nothing novel about the current trends. However, as distinct from the 1960s, which foreshadowed hope, optimism, 'the free world' of our time is branded by terrorism, pessimism, disillusion... parallel to this enervation, we have been witnessing the theatre of rich thoughts, a poetic, lyric theatre laudating life... therefore, it is imperative to take note of all stimulating forces which influence the arts and be cognizant of their connections which go beyond the domain of the theatre. Listening, watching, holding discussions…not just harping on threadbare arguments. The workshop 'Premeny poetiky slovenskeho divadla na prelome 20. a 21. storocia' (The Metamorphoses of the Poetics of the Slovak Theatre at the Turn of the 20th and 21st Centuries) was just that. The venue of the workshop was the Little Congress Centre of VEDA, Publishing House of the Slovak Academy of Sciences; here, on 18 June, 2008, a dialogue between theorists and critics was started, with the financial support of the Ministry of Culture of the Slovak Republic and VEGA Grant Agency.
16
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AKO V INŠTITÚCIÁCH VČERAJŠKA HOVORIŤ DNES O VÍZIÁCH ZAJTRAJŠKA?

80%
Maťašík A.
Slovenské divadlo (Slovak Theatre)
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2013
|
vol. 61
|
issue 3
334 - 343
EN
In the introduction the author returns to the history and states that the Slovak National Theatre was established in 1920 as a part of the decision to expand the network of professional theatres that existed in the Czech lands after WWI to the east. Legislators decided to socialize all theatres (1948). The socialist state viewed theatre as a powerful ideological weapon. There was no television yet, but a theatre ensemble could get to the most remote villages and, according to those in power, spread progressive ideas through its productions. The social change in 1989 brought no ambition for radical change in the area of theatre. Theatres as allowance organizations always received the same funding as the year before irrespective of the artistic quality of their production. This might have been the reason why theatres were dissatisfied and why theatre-makers were at the forefront of the efforts for social change. Changes in the institutional system of Slovak professional theatre in the 1990s happened without any discussion about the basic issue of the relationship of theatres to a particular group of citizens who are interested in this public service and willing to support it financially. Besides a sociological survey conducted by the National Educational Centre for the National Theatre Centre in the late 1990s, there is no conclusive evidence that Slovak citizens and tax-payers need theatre in order to live a better and fuller life. In principle, the decisions on the existence or non-existence of a theatre should not be made by officials in Bratislava, who allocate the collected taxes, but these decisions should be made by citizens who either want or need a particular theatre to continue its existence or have other preferences. Professor Peter Karvaš always emphasized that the theatre is based on the fact that a live person plays the part of another live person in front of a live person in the auditorium. The state thus subsidizes clearly commercial theatrical projects, which do not need to be denounced, only more clearly labelled and viewed as business activity which will turn things like the popularity of actors and media legends to profit. This would result in a system of minimum three multi-ensemble theatres, one in the west, one in the east and one in Central Slovakia. These theatres should include opera, drama and ballet companies and have a clearly formulated artistic mission. This network of theatres could, of course, be supplemented by commercial theatres that could be operated as non-profit organizations or companies or run by a sole trader, albeit with the risk that they may fail.
17
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BERTOLT BRECHT V SLOVENSKOM DIVADLE V ROKOCH 1975 – 1985

80%
Knopová E.
Slovenské divadlo (Slovak Theatre)
|
2020
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vol. 68
|
issue 2
121 – 145
EN
The study focuses on the productions of Bertolt Brecht’s plays in Slovak drama theatre between 1975 and 1985. It sheds light on Brecht’s views and his demands made on epic theatre. The study also presents a fundamental view of his aesthetics and poetics of (dialectic) theatre and drama. Timewise, it links up with an older study by Martin Porubjak published in Slovenské divadlo (Slovak Theatre) in 1975 which focused on the 1947 – 1974 period. The authoress elaborates on another decade of the production tradition of Brecht’s plays in Slovak professional theatre. She makes a point that despite an ever-growing frequency of the staging of Brecht’s plays, there are only exceptional cases when Slovak theatre professionals managed to comprehensively capture Brecht’s creation, such as, for instance, in the production of Muž ako muž/A Man’s a Man (directed by Stanislav Párnický, 1975), Malomeštiakova svadba/A Respectable Wedding directed by Ivan Krajíček, 1978), or Život Galileiho/The Life of Galileo (directed by Ivan Petrovický, 1979). Following entertaining, satirical, and socio-critical interpretations, so typical of the decade in question, it was not until the latter half of the 1980s, when staged productions captured the feeling of an entire (totalitarian) epoch and heralded an inevitable toppling of communist forces, while making it clear that positive heroes were no longer attractive, as they had been weakening our vigilance for many years, for instance, Dobrý človek zo Sečuanu/The Good Person of Szechwan (directed by Vladimír Strnisko, 1986) and Baal (directed by Roman Polák, 1989).
18

DIVADELNÍCTVO V NITRE V ROKOCH 1939 – 1945

80%
Palárik M.
Studia Historica Nitriensia
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2017
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vol. 21
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issue 2
366 – 430
EN
The totalitarian regime established in Slovakia after October 1938 affected not only the political and economic life, but it was fully manifested in the cultural sphere and ways of spending leisure time as well. Residents of Nitra could feel "the cold breath of totalitarianism" on their own skin in the form of restrictions and regulations issued by the governing party through local loyal representatives during the Second World War. Regulations issued during the Second World War by Hlinka' Slovak People's Party influenced stagecraft as well as other elements of leisure time activities. After the Vienna Arbitration, Slovakia lost the city of Košice with the second most stable theatrical scene. There was a theater company only in Bratislava along with several touring and amateur theaters. The government power was not interested in Czech artists, who had to leave the country. It supported mainly Slovak dramatic works, however, there were only a few authors, who were able to write a good drama. Therefore, the government power tried to compensate this deficit by holding competitions for the best drama, but this effort did not have any great response among authors. A new theater ensemble led by Fraňo Devinský was established in Nitra at this time. The ensemble gradually spread and even persons who were suspicious of the regime started to act here. However, operation of theater was financially demanding and if Devinský wanted to maintain its operation with the help of state grants, he had to adjust the program to the requirements of state representatives. Therefore, this theater also performed dramatic plays that had national character and emphasized imaginary milestones in Slovakia's past. On the contrary, the state and critics were not in favor of operettas, which were very popular and attended by large crowds, who enjoyed their simple story and well-known songs. The amateur theatrical scene in Nitra almost completely ceased to exist. Amateur actors did not want to perform the theatrical plays required by the state and after the harsh criticism of one of its satiric plays, the amateur theatrical company completely ceased operation.
19
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IVAN VYRYPAYEV IN SLOVAKIA

80%
Lindovská N.
Slovenské divadlo (Slovak Theatre)
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2019
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vol. 67
|
issue 3
203 – 223
EN
Theatre plays by Ivan Vyrypayev, Russia’s foremost and most influential contemporary play-wright, are frequently staged not only in Russia, but also abroad. Several plays have even been written on demand of European theatres. Vyrypayev is a very special and in many ways antipodal author. On the one hand, he bases himself upon the Russian cultural tradition, while engaging in a critically tuned dialogue with it. He introduces new staging techniques and new themes to theatre production, which respond in a very sensitive way to the current state of European civilisation and to the situation of man in the world affected by the crisis of values. Slovak theatre became first aware of his work in the early 21st century. Since 2004, up until now, his plays Sny [Dreams], Iyul [July], Pyanye [The Drunks], Ilyuzii [Illusions], Letniye osy kusayut nas dazhe v noyabre [Summer Wasps Bite Us Even in November], Nevynosimo dolgiye obyatiya [Un-bearably Long Embraces] have been staged in Slovakia. Initially, it was the Slovak independent theatre expressing its interest in Vyrypayev’s texts, but very quickly, mainstream theatres followed suit. They have crossed generational barriers, and in the staging of his plays, the actors of young and oldest generations deliver remarkable performances. In a country in the heart of Europe, the poetics of the author who creates on the borderline between the East and the West, has resonated markedly well with the audiences. The theme of the relationship between Slovak theatre and Ivan Vyrypayev’s dramatic work remains open, whereby the presented study records and reflects on the current situation.
20
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EAST SLOVAKIAN THEATRES OPERATING IN AN UNCONVENTIONAL THEATRE SPACE

80%
Metasik A.
Slovenské divadlo (Slovak Theatre)
|
2008
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vol. 56
|
issue 3
289-293
EN
The author maps the endeavours of the East Slovakian theatre-makers to entertain their audiences in an unconventional theatre space. He makes mention of historic roots and motives underlying the attempts of theatre professionals to expand the offer of the theatrical productions by performances given in less formal and less convention-friendly premises. In the late of the 20th century, theatre professionals in Kosice, and particularly in Presov, made some attempts to change the conventional approach to seeking a project suitable for an unconventional theatre space; this initiative was first launched in the 1970s. This ambition was taken up and accomplished by director Jozef Prazmari together with the stage designer Stefan Hudak in HOP Theatre Studio; particular credit, however, should be given to the guest director Peter Scherhaufer and his project 'Kemu ce treba' (Who Needs You) and the production 'Kde lezi nasa bieda' (Where Our Misery Lies) at Jonas Zaborsky Theatre, Presov.
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