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HASPRA'S SELF-PROJECTION IN THE FEMALE STAGE

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EN
The veteran dramatic adviser of the Slovak National Theatre drama and an associate of the director Peter Haspra contemplates in his study on Haspra's perception of a female element in theatrical art. Using the example of his private relation to two prominent Slovak actresses, Viera Strnisková and Sona Valentová, and subsequently through theatre characters Haspra had given to these actresses in his stagings, the author studies inner emotional dimension of these plays. He concludes that Haspra was the type of a director who perceived the dramatic situation emotionally through his 'heart' and only then was looking for rational ways and possibilities how to make them into a peculiar and distinctive form. The author illustrates the method used by Pavol Haspra on various examples of stagings, and is generalizing, that it is mainly spontaneity in relation to a dramatic text and emotional dimensions which often remained concealed from others, that represent typical features of Haspra's position of a dramatic advisor and director.
Filozofia (Philosophy)
|
2013
|
vol. 68
|
issue 2
114 – 123
EN
In Physics II. 4-6 Aristotle deals with the technical concept of chance. Here a number of specific characteristics are ascribed to the chance happenings. At the same time, in his biological works Aristotle presents his notorious theory of ‘spontaneous generation’. Most scholars assume that this theory ought to be in line with the doctrine of chance, as this is presented in his Physics. It is clear, however, that spontaneous generation lacks (at least some of) the features a chance happening ought to have. For instance, spontaneity is not unusual. Here the author ś purpose is to address the exegetical problem at hand, in particular to sketch out an argument according to which the discrepancy between Aristotle’s doctrine of chance and his theory of spontaneous generation is merely an apparent one.
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