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SLOVAK THEATRE AND THE CHANGES OF GENERATIONS (Generacne preskupovania v slovenskom divadelnictve)

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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.
2
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SLOVAK DRAMATIC ART AT THE TURN OF THE CENTURIES - A DEPARTURE FROM THE MIMETIC PRINCIPLE OF THE THEATRE PRODUCTION (Slovenske herectvo na prelome storoci - odklon od mimetickeho principu divadelnej tvorby)

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Matasik A.
Slovenské divadlo (Slovak Theatre)
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2010
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vol. 58
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issue 2
139-149
EN
Over the 20th century, Slovak professional acting, in sense of conscious and purposeful dramatic work, undergone enormous development. The theatre production was carried by amateur acting companies, trying to imitate the performances known from their visits to big cities of the monarchy or touring professional 'comedians', mostly of Hungarian but also Czech and German origin. According to convinced follower of psychological realism and the founder of Slovak professional theatre Jan Borodac, the artistic supreme objective was to teach an actor to understand the inner world of depicted character, use the talent available and the expression of actors to create individualized dramatic character. Borodac's successors, the directors Jan Jamnicky and Ferdinand Hoffmann exceeded these limits of psycho-realistic theatre and further experimented with stylization, pathos of musical language and speech. In the sixties and seventies the Slovak theatre underwent the period of considerable interest in work in experimental conditions of experimental studio theatre where the audience became a contact eyewitness of the act of transformation of an actor. At the end of the 20th century, the rapid modernization of means of dramatic expression, showing a maximum concentration on detail, authenticity and spontaneity took place in the Slovak theatrical context. No longer the actor represents only the assigned role, but performs it anti-illusively and brings his own opinions into the interpretation puts and thus participates in dramaturgic and directorial concept of the production. The author of the study perceives this development as contradictory. He draws attention to the risks arising from this fashion acquired even by those actors who are not able to be the intellectual partners of an author, dramatic adviser and director and in such cases their authorial inputs are rather forced and unsubstantial.
3
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THE DEVELOPMENT OF SLOVAK PROFESSIONAL ACTING (Experiment with MARSKA) (K vyvoju slovenskeho profesionalneho herectva (Pokus s Marskou))

100%
Matasik A.
Slovenské divadlo (Slovak Theatre)
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2009
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vol. 57
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issue 4
284-299
EN
The author continues to examine the development of Slovak professional acting. He takes a closer look on the situation after 1920, when the Czech theatre company operated under the name of the Slovak National Theatre in Bratislava and when Slovak actors were seen only gradually on the stage. Management of the theatre who needed to obtain subsidies from the Slovak towns, created in the season 1921/22 a touring ensemble, entitled Rural Dramatic Society of SNT (Marska). It had to promote the idea of the Slovak National Theatre and shows its production in the Slovak towns. The members of this ensemble were e.g. Jan Borodac, Olga Orszaghova, Andrej Bagar, their Czech colleagues Karel Balak, Jan Tumlir, Marie Pochmannova-Sykorova, Viliam Taborsky, Oto Vrba. Vladimir Jelensky, previously the member of the SNT's operetta, became the director of the ensemble. After a single season, the ensemble was dissolved for the poor financial situation and the lack of results. The actors took up civil jobs or founded engagements in other theatres. In the 1923, the Slovak National Theatre was forced almost to shut down since the Prague Ministry of Culture had conditioned the release of grants by the takeover of the theatre from the SND Cooperative to private entrepreneur. In the 1924, Oskar Nedbal as a new director of National Theatre persuaded Jan Borodac to return to the theatre and to take up responsibility for preparing the Slovak repertoire. The first phase of building up the Slovak professional theatre brought certain positives: - the first professional theatre was founded on the territory of Slovakia, which at least declared itself as a national cultural institution - several adepts of performing arts was given an opportunity to test their skills - the Slovak plays, written by earlier and contemporary authors were staged in the professional theatre.
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