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OBRAZ RELATÍVNEJ SLOBODY MLADÝCH TVORCOV TVORIŤ A O TVORBE DISKUTOVAŤ. DIVADELNÉ FESTIVALY ČINOHERNÉHO DIVADLA V 70. A 80. ROKOCH 20 STOROČIA

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Podmaková D.

Slovenské divadlo (Slovak Theatre)

2012

vol. 60

issue 2

142 – 149

The authoress elucidates the state and condition of prominent theatre festivals in the given period, in both the Slovak and federal (Czechoslovak) contexts. She bases herself on the current situation which is noted for limited space for a meaningful discourse about the theatre. She brings to attention the young theatre professionals of the 1930s and their eagerness to reflect on their work, their willingness to ponder over new theatre trends and a change in the paradigm and to discuss the stereotypes in the theatre due to a stagnating society. She maps out the emergence, characteristics and purpose of these events across the individual drama art streams: the production of formal traditional theatres, alternative theatre art streams (theatre ensembles within the institutions of higher education and ensembles of small theatre forms, irregular production of the so-called “sub theatres“ in theatres within the framework of the activity of youth organizations) and amateur theatre production. The authoress gives an account of the nationwide festival of main stage theatres entitled Divadlo dnešku (The Theatre of Today) which was regularly and alternately held in Ostrava and in Košice. Divadelná mladosť (Young Theatre) festival, focussing on more recent impulses of theatre production of largely young theatre professionals, was also alternately hosted by České Budějovice and Prešov. The authoress would not discount the role of Akademický Prešov, a nationwide festival of amateur college and university theatre ensembles. She also brings to attention imprecise information contained in encyclopaedia headings, i.e. information on other nationwide events. Excerpts from discussion held at Divadelná mladosť workshop in 1977 and devoted to alternative theatres, various forms of their work, aspirations and opportunities testify to the proficiency of young theatre professionals and their desire to open up to the public on a broader scale.

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1 Slovenské divadlo (Slovak Theatre)

1 Podmaková D.

1 2012

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OBRAZ RELATÍVNEJ SLOBODY MLADÝCH TVORCOV TVORIŤ A O TVORBE DISKUTOVAŤ. DIVADELNÉ FESTIVALY ČINOHERNÉHO DIVADLA V 70. A 80. ROKOCH 20 STOROČIA