Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Refine search results

Journals help

  1. 51 Slovenské divadlo (Slovak Theatre)

  2. 3 Romanica Wratislaviensia

  3. 3 Slovenská literatúra (Slovak Literature)

  4. 2 Communication Today

  5. 2 ESPES

More...
Authors help

  1. 6 Ballay M.

  2. 4 Hlaváčová A.

  3. 4 Lindovská N.

  4. 3 Mistrík M.

  5. 3 Motal J.

More...
Years help

  1. 1 2024

  2. 3 2023

  3. 3 2022

  4. 3 2021

  5. 6 2019

More...

Results found: 77

first rewind previous Page / 4 next fast forward last

Search results

Search:
in the keywords:  THEATRE
help Sort By:

help Limit search:
first rewind previous Page / 4 next fast forward last
1
Content available remote

JAVISKOVÁ REČ V KONTEXTE VÝRAZOVÝCH PROSTRIEDKOV NA VÝSTAVBU JAVISKOVÉHO TVARU

100%
Findra J.
Slovenské divadlo (Slovak Theatre)
|
2014
|
vol. 62
|
issue 1
69 - 80
EN
The study briefly analyses the present views on the staging speech and redefines its system-functional basis. As the means of expression, the staging speech participates in the transformation of the dramatic text into the staging form. Its components and elements are classified and characterized with regards to such application. The author accepts „classical“ opinion, stating that the essential existential base of the staging speech is a speech technique, proper handling with the breathing, clear articulation, literary pronunciation of the sounds and the speech flow in accordance with a codified norm. Regarding system-functional structure, the verbal-intonation means with their mainly the functional potential are of no less importance. On the principle of contrast, these existential components and elements are used as the means of exactness, understandability and explicitness of the staging character´s speech, while at the same time identify the character as a human type by means of his/her idiolect as well as matter-of-factness within tension – aesthetics, objectivity – subjectivity, notionality – emotionality/expressivity, they create differentiating stylistic contexts. While implementing these functions, the verbal means are tied up with the non-verbal ones.
2

ROMANTIC HERO'S TRAGIC MASK IN 'THE LEGION' BY STANISLAW WYSPIANSKI

100%
Brzozowska S.
Przegląd Humanistyczny
|
2005
|
vol. 49
|
issue 6(393)
91-98
EN
The article deals with the issue of contamination of romanticism and ancient motives in 'The Legion' by Stanislaw Wyspianski. In the drama Mickiewicz's romantic myth appears against the background of the Ancient Rome, associating the ancient use of metaphors with romantic visionary style. Particularly exposed theatrical character of space suits the creation of the main character, apparently stylized for the Mickiewiczian hero. The hero puts on masks of both Christ and Brutus, thus confirming the tragic situation of a man bound in history and social obligations. Wyspianski's Rome is the synthesis of the theatre of the world. Exaggerated mystification in 'The Legion' - an apparent game - is a desperate attempt to communicate between the modernist sender and the recipient.
3
Content available remote

DRAMA THAT WAS NOT PLAYED IN HUNGARY. DRAMATIC WORKS OF PRESSBURG SCHOLAR AND WRITER TOBIAS GOTTFRIED SCHRÖER (1791 – 1850)

80%
Kopčáková S., Zubal P.
Slovenské divadlo (Slovak Theatre)
|
2021
|
vol. 69
|
issue 3
322 – 336
EN
The study deals with the dramatic works of a writer, professor of the Evangelical Lyceum of the Augsburg Confession in Pressburg, Tobias Gottfried Schröer. As a citizen of German descent striving to avoid the harsh censorship of the time, between 1820 and 1849, he published his works under various pseudonyms. Under his real name, he published only textbooks and three compendia intended for the Lyceum students. In Germany (Leipzig, Hamburg, etc.), he was quite a well-known writer; his short stories, poems and plays were published in various almanacs and collections. His drama work is almost unknown, and the number of his plays (existing as primary sources, including those that are only referred to), we estimate at fifteen so far. They were written approximately between the years 1806 and 1846, which testifies to their author’s lifelong interest in theatre and story dramatizations. A historical drama Leben und Thaten Emerich Tokoly’s und seiner Streitgenossen [The Life and Deeds of Emerich Tököly and His Comrades-in-arms by A. Z.] (1839), published in Leipzig under the pseudonym of A. Z., and a comedy Der Bär [The Bear] (1830) can be considered the most important.
4
Content available remote

VÝRAZOVÉ TENDENCIE SÚČASNÉHO POULIČNÉHO DIVADLA

80%
Ballay M.
Slovenské divadlo (Slovak Theatre)
|
2012
|
vol. 60
|
issue 2
173 – 190
EN
The paper is a brief prolegomena to an extensive research of the phenomenon of street theatre. He discloses the strategies for mapping the present street theatre culture with regard to the currently most prevailing manifestations in contemporary Slovakia. He reflects the particular expressive tendencies within contemporary street theatre and strongly distinguishes its factual specifications. In the conclusion, the author presents more explicit concept of how to determine the nature of this type of theatre and outlines relevant, possible typology. At the same time, he also points out the individual functions of the present street theatre in Slovakia. Poetics of the contemporary street theatre in the domestic context quite differs from the street production made for a sole purpose. In the current staging practice, street theatre can be in Slovakia many things, which is often a major problem in the final mapping and understanding of the issue. Sometimes any outdoor open-air presentation bears the label of street theatre, although it completely lacks the attributes ascribed to this type of theatre. Street theatre in Slovakia has many variants and therefore is mostly mixed with non-theatrical theatricality, with show and other street attractions that the very street theatricality not just overlaps but, unfortunately, sometimes completely replace. The presence of such street theatre is actually in Slovak conditions rare, unique, nourished only by a few initiatives, theatre companies and events. As a result, it creates a coherent colour of street 'spectacle', which is sometimes seen on the surface as a revitalized, re-recognized theatrical form developed in the sporadic but constant spirit. "Open air theatre" or "outdoor theatre" has its specific conditions for the existence on the cultural map of theatre, its right to exist in the context of domestic theatrical culture. Similarly, it follows fixed, unwritten laws, language, aesthetics and even the original expressive tendencies, which clearly enrich and even inspire the overall culture of theatre.
5
Content available remote

POSTAVENIE A KLASIFIKÁCIA DRAGU V DIELACH DRAMATICKÝCH UMENÍ

80%
Buch S.
Slovenské divadlo (Slovak Theatre)
|
2021
|
vol. 69
|
issue 4
375 - 387
EN
In the history of the dramatic arts, it is a frequent phenomenon that characters of one sex are played by actors of the opposite sex. This phenomenon is found in cultures all over the world, with its roots probably lying in the spiritual practices of ancient cultures. The term drag, based on Polari language, is currently used to name this practice. In the light of the theories associated with rituals, the mask, and the concept of liminality, it can be stated that a person who is in drag is entering a liminal phase between the masculine and feminine worlds. This state allows the person to free himself/herself from gender stereotypes that limit the freedom and authenticity of personal expression. The intention of this paper is to present the historical development of drag and its function in human society and in the dramatic arts environment. The issue of drag in the dramatic arts has been mostly marginalised in scientific literature. The occasional works that have dealt with it have mostly not traced the distinct nature of individual manifestations, but have examined drag as an internally homogeneous phenomenon. Our work presents an internal classification of drag in the dramatic arts, with an ambition of better understanding the individual manifestations of drag, tracing their historical development and their socio-artistic function.
6
Content available remote

K NIEKTORÝM UMELECKÝM A MIMOUMELECKÝM DÔVODOM PREJAVOV FENOMÉNU GENERAČNOSTI V SLOVENSKOM DIVADLE 2. POLOVICE 20. STOROČIA

80%
Maťašík A.
Slovenské divadlo (Slovak Theatre)
|
2013
|
vol. 61
|
issue 1
15 – 35
EN
The author analyses development of the Slovak professional theatre after World War II from the perspective of emerging generationally related art teams of the theatre makers. He notes that generational manifestations have always been conditioned by social situation because the basic attributes of this concept are the uniformity of opinion and the ability to strongly articulate civic and artistic views in controversy and confrontation with the prevailing social atmosphere. The sixties brought along a release of social tension and at this period quite a number of university-trained young theatre artists active in theatres were stepping up against a strong group of older artists, who after years of schematism showed remarkable vitality and were able to absorb many elements of modern theatre. The first full-valued generational theatre was the theatre company Divadlo na korze. In the seventies, a tendency towards a generational theatre was to be found especially in theatres in Trnava, Nitra and Martin, but in all cases these were repertory theatres with staging production varying from generational proclamations of "otherness" to mainstream pieces. Generationally clearly defined theatre was given the opportunity to develop only after social upheaval in 1989.
7
Content available remote

JÚLIUS VAŠEK. HEREC DUŠEVNÝCH ROZPOROV

80%
Mišovic K.
Slovenské divadlo (Slovak Theatre)
|
2022
|
vol. 70
|
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.
8
Content available remote

SLOVENSKÁ KLASICKÁ DRÁMA A RÉŽIA NA PRELOME TISÍCROČÍ

80%
Maťašík A.
Slovenské divadlo (Slovak Theatre)
|
2014
|
vol. 62
|
issue 3
237 – 251
EN
This paper analyses the relationship of Slovak dramatic theatre to Slovak drama classics between 1989 and 1994. This paper analyses the issue by discussing the characteristics of the distinctive approaches adopted by notable figures in theatre production and examines the situation through “official” theatre companies. This is done for three key reasons: (a) at the turn of the millennium, the institutional foundations of Slovak theatre still functioned on the basis of inertia, and independent theatres and agencies and ad hoc groupings of theatre makers were still only being established; (b) national classics were practically absent from the season programmes of independent theatre companies until the mid-1990s because until then these companies had presented themselves as “authorial theatres” and as theatres focusing on contemporary works; (c) a number of decentralizing administrative and organizational changes were initiated in the mid-1990s which resulted in the creation of a new model of organizing professional theatre, meaning that developments after 1995 deserve separate attention. The assertion is made that in the analysed period there was an exceptional situation at the Jonáš Záborský Theatre in Prešov due to the productions of Ján Sládeček, which knew how to extract contemporary social messages from the older dramas (e.g. plays by Jozef Gregor Tajovský, Milo Urban and Ján Palárik). By contrast, national classics were not included in the majority of season programmes of professional Slovak theatre companies in the years immediately following the change in political regime.
9
Content available remote

A MUSICAL BEDNARIK

80%
Cavojsky L.
Slovenské divadlo (Slovak Theatre)
|
2005
|
vol. 53
|
issue 1-2
3-21
EN
Originally actor and drama director Jozef Bednárik (1947), has been lately keenly involved in music theatre projects. Musicals follow his opera productions and currently, he cooperates with the New Stage Theatre in Bratislava, A. Bagar Theatre in Nitra and with several musical theatres in Prague. His creative endeavours result in a modern synthetic format of music theatre, collages of music, stage design and acting art and on the stage, he does not hesitate to apply the principle of film montage. His music theatre aspires to be current, with the striking power of television, the dynamism of videoclips, the glamour and attractiveness of fashion and rock and the intriguing nature of good films. Kitsch in his production has a concrete and justifiable purpose. However, live music is not a component part of the majority of his musicals.
10
Content available remote

MAX REINHARDT – MYŠLIENKY O DIVADLE

80%
Mistrík M.
Slovenské divadlo (Slovak Theatre)
|
2014
|
vol. 62
|
issue 4
359 - 371
EN
Max Reinhardt, one of the greatest theatre directors, was a theatre maker, actor, director and theatrical entrepreneur. However, unlike other great directors (Constantin Stanislavski, Vsevolod Meyerhold, Jacques Copeau, Antonin Artaud, Erwin Piscator, Bertolt Brecht, Jerzy Grotowski), he devoted little time to writing about theatre and did not leave any systematic methodological reflections on his profession. This study attempts to reconstruct from his writings Reinhardt’s thinking about theatre, especially about the relationship between a playwright and theatre, an actor’s personality and his technique, stage design and space and his relationship mainly to classic dramatists. It must be stated that despite a great effort it is practically impossible to reconstruct his thoughts in their complexity. It is partly possible only if one is familiar with his productions and theatrical business.
11
Content available remote

RYTMICKÉ CÍTENIE V SCÉNICKOM DIELE. ESTETICKÁ A MIMOESTETICKÁ FUNKCIA SCÉNICKÉHO UMENIA VYCHÁDZAJÚCA Z RITUÁLNEJ PODSTATY DIVADLA A MYTOLOGICKÝCH ZDROJOV DRÁMY NA POČIATKU 20. STOROČIA

80%
Kovalčíková P.
Slovenské divadlo (Slovak Theatre)
|
2019
|
vol. 67
|
issue 2
129 – 144
EN
The study focuses on the penetration of ritual elements into contemporary performance art. Reflection of the discussed topics focuses on the period of modernism and postmodernism in the Western cultural context, while the documentation of phenomena is based primarily on the theatrical experiments of the creators of the first and second theatrical reforms.
12
Content available remote

PRAVDA COPIAUS A METÓDA COPEAUA

80%
Mistrík M.
Slovenské divadlo (Slovak Theatre)
|
2014
|
vol. 62
|
issue 1
3 - 32
EN
In 1924, Jacques Copeau together with his actors and students moved from Paris to Burgundy. First he moved to Morteuil and a year later to Pernand - Vergelesses. After a few years of life dedicated to writing, directing and rehearsals, he was gradually losing interest in theatre. The young members of his troupe, performing since 1925 under the name Copiaus, were left to cope with the situation on their own. Relations with Copeau went to pieces. The troupe began to work more independently from 1927. They rehearsed two performances – The Dance of the City and the Fields (La Danse de la ville et des champs) in 1928 and Youth and Spider or the Apparent Tragedy (Les Jeunes Gens et l' araignée ou la Tragedy Imaginaire) in 1929. In both plays they developed the original idea introduced by Copeau – an attempt to create a modern version of the Italian commedia dell'arte, which they called simply comédie nouvelle. For this purpose, the troupe created new masks - Mr. César (Jean Dasté), Oscar Knie (Michel Saint - Denis), Gilles (Jean Villard) and other. Based on archival documents, scripts, notes of the authors, newspaper criticisms and preserved iconography, the study aims to reconstruct the above mentioned plays.
13
Content available remote

DRAMATURGIA NEZÁVISLÝCH KULTÚRNYCH CENTIER (STANICA ŽILINA-ZÁRIEČIE A CENTRUM NEZÁVISLEJ KULTÚRY ZÁHRADA N. O.)

80%
Ballay M.
Slovenské divadlo (Slovak Theatre)
|
2014
|
vol. 62
|
issue 3
252 – 267
EN
This article deals with the two independent cultural centres in Slovakia – the Stanica Žilina–Záriečie (Žilina–Záriečie Station) cultural node and the Záhrada (Garden) independent cultural centre, a non-profit organization which is based in Banská Bystrica. Particular attention is paid to certain dramaturgical tendencies, functions and associations made with a particular spatial location as well as the cultural centres’ influence on the specific regional cultural climate and overall location. The article maps the background to particular activities in the development of theatre culture and covers the special arrangements put in place for the emergence and existence of individual works from a perspective asserting that the physical realization of particular residencies is of unequivocal benefit to the laboratory-like cultivation of the contemporary poetics of independent theatre and dance.
14
Content available remote

DIVADELNÉ HISTÓRIE AKO HISTÓRIE PREDSTAVENÍ: VARIÁCIE, MOŽNOSTI A VÝHĽADY

80%
Lindovská N.
Slovenské divadlo (Slovak Theatre)
|
2015
|
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.
15

THE NEO-BAROQUE THEATRE OF PROSE IN LATE SHEVCHUK

80%
Sobol V.
Slavia Orientalis
|
2005
|
vol. 54
|
issue 4
561-570
EN
The article analyses modern novels by Valeri Shevchuk 'Bal-maskarad iz sobakami', 'Kordebalet' and 'Sfera'. The authoress discusses the milestones of the 'Teatr prozi' cycle, examining in detail the fragments following neo-Baroque poetics.
16
Content available remote

BÁBKAR – BÁBKOHEREC – PERFORMER

80%
Jurkowski H.
Slovenské divadlo (Slovak Theatre)
|
2016
|
vol. 64
|
issue 1
93 – 98
EN
The author speaks about animated puppet being a part of the theatre art. The eminent drama writer and theatre philosophes have given it their thoughts and opinions: Samuel Foote, Heinrich von Kleis, Gordon Edward Craig. They considered being an important part of the theatre while animated by the puppeteers. The author enumerates various types of puppet-players: puppeteer nugget, puppeteer professional, educated in the theatre school. The last one ignores often importance of the puppet and he dismisses it by his own presence. The author proposes in his place another player that is puppeteer-performer, who is conscious of the creative energy existing in each material (puppet included) and is wishing to demonstrate this energy and to serve it.
17
Content available remote

POSTSOVIETSKE DIVADELNÉ PARALELY

80%
Lindovská N.
Slovenské divadlo (Slovak Theatre)
|
2014
|
vol. 62
|
issue 1
33 – 48
EN
The study is a comparative reflection on the development of performing arts in Russia and Slovakia at the turn of the millennium. Understanding the peripheries of post-Soviet transformation of Russian theatre deepens the knowledge of social and aesthetic contexts regarding the transformation of Slovak theatre at the turn of the 21st century. The disintegration of the Soviet Bloc in the late 80s and the early 90s of the 20th century changed the situation in the world and launched a major transformation in the post-communist countries. Along with the economic and political system, culture was changing also inevitably. Privileged status of Russian culture has become a thing of the past. In the following years, Slovakia has become the independent state with parliamentary democracy and market economy and joined the EU. Russia has undergone its own path of development. Despite a different orientation of the two countries at the turn of the millennium, both the Russian and Slovak theatre experienced in many ways analogous situation: the decline in social status of performing arts, opening to the world, the introduction of so-called new drama, transformation of directing and acting, etc. When approaching breakthrough processes in Russian theatre, the study is based on the author's personal knowledge of Russian theatre and on the publications written by Russian theatre critics Marina Davydova (End Theatrical Era) and Anna Vislova (Russian Theatre at the Turn of the Millenium
18
Content available remote

OF DEPARTURE IN CONTEMPORARY THEATRE STUDIES, THE FIRST STEP IN QUEST OF SLOVAK ECO-DRAMATURGY

80%
Juráni M.
Slovenské divadlo (Slovak Theatre)
|
2019
|
vol. 67
|
issue 3
224 - 239
EN
The paper focuses on the mapping out of the current eco-critical discourse in drama and theatre. The theoretical approach examines models, productions, and various forms of performance with regard to the reflection on the impact of human activity on the environment. Current approaches make it possible. Inter alia, to give prominence to works dealing with the relationship between man and his natural environment which, until recently, have been overlook. There are various methods to analyse a work through ecological narrative, yet, there are simple tools that facilitate this work. Among these tools is the questionnaire of the American theatrologist Theresa J. May entitled Some Green Questions to Ask a Play. This theoretical tool was employed in the analysis of the play Margaret zo zámku [Margaret from the Castle] by the Slovak playwright Štefan Králik. One of his last plays, which have not resonated particularly well with the critique, seems to be a key contribution to the Slovak so-called eco-dramaturgy. At the same time, the study raises the question of the perception of ecologically committed plays originating in the Eastern Bloc countries and burdened with the ideology of their time. This is a specific situation that the eco-critically oriented researchers in Western countries have not been confronted with, and at the same time, it poses a challenge to the whole Eastern ecocriticism.
19
Content available remote

DIVADELNÁ SCÉNOGRAFIA ARCHITEKTONICKÝCH OBJEKTOV

80%
Mazalán P.
Slovenské divadlo (Slovak Theatre)
|
2018
|
vol. 66
|
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.
20
Content available remote

OBRAZ TRANSFORMÁCIE DIVADELNEJ SIETE V SLOVENSKEJ REPUBLIKE

80%
Podmaková D.
Slovenské divadlo (Slovak Theatre)
|
2013
|
vol. 61
|
issue 4
382 - 392
EN
The paper addresses a number of topics related to the theatre transformation in Slovakia. As early as the 1980s, at the time of the command economy, the objective of this theatrical experiment was to enhance the economic prudence of the teams of creative professionals and an efficient and effective management of allocated appropriations and performance-based remuneration. After 1989 and transition to a market economy, multi-source funding was also debated in culture. When attempts to merge drama ensembles and various cultural institutions into larger institutions were made, there cropped up a problem of the availability of competent managers who would be able to manage institutions of various missions and an issue of scarce funding. The State made it possible to start private theatres by various founders, however, it failed to stipulate the terms and conditions of multi-source funding in a systemic way. It, too, failed to introduce the possibility of multi-year grant projects (for instance, three or five-year grant projects, which are commonly implemented abroad). Indeed, the theatre is a privileged type of entertainment of a small part of the population, however, it facilitates personal growth and creativity and it is a component part of drama therapy. It has not abandoned memory effect stereotypes (the allocation of state grants to culture), it has failed to set a rating system to evaluate concrete theatrical productions and their impact upon the audiences, despite the fact that a new paradigm of the theatre function and perception was introduced as an outcome of the development of society and a change in the percipient target group.
first rewind previous Page / 4 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.