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PODOBY NEMECKO-JAZYČNEJ OPERNEJ KRITIKY V PREŠPORKU OKOLO ROKU 1900. STRATÉGIE, MÉDIÁ, OSOBNOSTI

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Laslavíková J.
Slovenské divadlo (Slovak Theatre)
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2022
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vol. 70
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issue 2
173 – 187
EN
With a high demand for the social presentation of the bourgeoisie in the course of the nineteenth century, opera production in European public theatres and its reflection in the daily press experienced an unprecedented boom. This was the case in Pressburg, too, where opera enjoyed a prominent place in the repertoire of German- -language ensembles in around 1900. The Preβburger Zeitung and the Westungarischer Grenzbote dailies gave ample scope for the opera events of the Municipal Theatre and shaped the taste of the local audience through their reports and critiques. The most prominent opera critics included some central figures of social life in Pressburg: Ján Nepomuk Batka, Josef Thiard-Laforest, and Gustav Mauthner. Their texts reflected the developments in the opera and, at the same time, responded to the changing socio-political situation that brought about changes in theatre operations, too. In this way, opera criticism became a strategic tool for public discussions about the further course of theatre art in Pressburg.
2
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REFLEXIA OPERY V MEDZIVOJNOVOM OBDOBÍ V BRATISLAVE V REFERÁTOCH ANTONÍNA HOŘEJŠA

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Laslavíková J.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 2
142 – 157
EN
Antonín Hořejš was one of the most prominent opera critics working in Bratislava in the inter-war period. With his distinctive views, he often stood in sharp opposition to traditionalist efforts, viewing them as a threat to the artistic growth of modern Slovak culture. This year’s fiftieth anniversary of his death is a good occasion for an assessment of his contribution to musical theatre, which he followed from the establishment of the Slovak National Theatre to the beginning of the Second World War.
3

MESTSKÉ DIVADLO V PREŠPORKU V KONTEXTE VÝVOJA MESTSKÝCH DIVADIEL V STREDNEJ EURÓPE V DRUHEJ POLOVICI 19. STOROČIA

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Laslavíková J.
Historický časopis (Historical Journal)
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2019
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vol. 67
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issue 2
241 - 263
EN
The study considers the origin of the City theatre in Pressburg at the end of the 19th century in relation to the cultural history of the city. The circumstances of the building of a new theatre by the well-known pair of architects Ferdinand Fellner jun. and Hermann Gottfried Helmer demonstrate the political and social situation in the city, which wanted to maintain a German character, while also satisfying the demand for Hungarian theatre from Hungarian members of elite urban societies. Thus, the building of the new theatre was closely connected with an effort to renew the cultural memory of the city and present its rich past using new media of cultural transfer, but it was also an instrument for the promotion of political interests.
4

“DONE! THE SPLENDID WORK, THE NEW ORNAMENT OF OUR BEAUTIFUL, ANCIENT CORONATION CITY IS COMPLETED!”1 IDENTITY CONSTRUCTION OF THE URBAN ELITE ILLUSTRATED ON THE EXAMPLE OF THE MUNICIPAL THEATRE IN PRESSBURG

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Laslavíková J.
Historický časopis (Historical Journal)
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2020
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vol. 68
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issue 6
947 – 975
EN
Discussions about the need to build a new Municipal Theatre started in the municipal council of Pressburg in 1879 and lasted for years. They were marked by an ambiguous attitude of the municipal representatives to the modernization of the city. The final decision was reached only in 1884, prompted by a decree of the ministerial president and minister of the interior, Kálmán Tisza, who called on Pressburg to build a home for the national (Hungarian) muse. The designs were made by renowned architects of theatre projects in Central Europe, Ferdinand Fellner jr. and Hermann Helmer, which reveals the long-standing cultural ties between Pressburg and Vienna, and the ambitions of the inhabitants of Pressburg to assert the status of their (former coronation) city in Hungary. The key figure behind the theatre project was Anton Sendlein, the chief engineer of Pressburg, whose testimony in the form of an extensive documentation of the construction of the Municipal Theatre provides scope for reflections on the events and on the main players behind them.
5
Content available remote

PRENIKANIE DRAMATICKÉHO DIELA JOSÉHO ECHEGARAYA EL GRAN GALEOTO NA EURÓPSKU SCÉNU A JEHO RECEPCIA V BRATISLAVE NA SKLONKU 19. STOROČIA

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Laslavíková J., Gómez-Pablos Calvo B.
Slovenské divadlo (Slovak Theatre)
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2018
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vol. 66
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issue 4
335 – 347
EN
This study looks on the work of Spanish playwright José Echegaraya and the circumstances of his domestication on the European theatre stages at the turn of the 20th century. One of his most important works, El gran Galeoto, arrived in Bratislava in 1889, only one year after its premiere in Vienna and three years after the opening of the new building of the Bratislava City Theatre. The premiere of the work, translated into German and in a theatrical adaptation from Paul Lindau’s pen named Galeotto took place around the same time as the premiere of the work Ralph William from the domestic author Josef Julian, which thanks to a similar theme was perceived as "Bratislava’s Galeoto".
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