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Studia Historica Nitriensia
|
2017
|
vol. 21
|
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.
EN
The study analyses an interesting problem from the point of view of knowledge of the position and direct political engagement of the Slovak cultural elites not only in general, but especially in the conditions of the authoritative regime of the Slovak Republic of the 1939-1945. The authoress does not perceive the cultural-historical reflection of this phenomenon in isolation in the relatively short period of modern Slovak history, but in continuity with the development of the post-revolution period of the First Czechoslovak Republic (1918 - 1939), that is from the period of the establishment of the modern Slovak nation. She also expresses a view on the unteachable repetition of this phenomenon in the subsequent post-war totality communist regime. She also observes that this phenomenon, namely the direct entry of the cultural elites into politics, is especially characteristic for totality regimes, where it usually acquires negative features, by which the participants are placed in insoluble intellectual and moral dilemmas. This marks usually not only their creative work, but also their destiny in life. This gives the problem not only a historiographic character, but also a timeless dimension.
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