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  1. 2 Slovenské divadlo (Slovak Theatre)

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  1. 2 Varšo M.

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  1. 1 2015

  2. 1 2014

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PETER EISENBERG: DVOJITÝ BÁSNICKÝ AKT A DUCHOVNÁ HRA (1651). TEXT PROTESTANTSKEJ ŠKOLSKEJ HRY V DOBOVOM KONTEXTE

100%
Varšo M.
Slovenské divadlo (Slovak Theatre)
|
2015
|
vol. 63
|
issue 2
100 - 115
EN
The school play written by the German author Peter Eisenberg in 1651 has enjoyed great attention by scholars from various disciplines in the last few decades. Excellent studies prove the excellence of this theatrical act. The present study expands the current state of research by offering a close reading of the text with a view to revealing the thinking of the time and the source of Peter Eisenberg’s inspiration. It was theology, closely connected with the Holy Scripture in the Protestant environment, the works of clerical fathers and confessions. The play is accompanied by music produced by prominent composers of the time, which significantly contributes to its appeal. The play and its rich inner life have the potential to appeal also to contemporary readers, on condition that they understand the symbolism of the time.
2
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JEZUITSKÉ DIVADLO V SPIŠSKEJ KAPITULE. DIVADELNÉ DRÁMY Z POLOVICE 17. STOROČIA

100%
Varšo M.
Slovenské divadlo (Slovak Theatre)
|
2014
|
vol. 62
|
issue 2
188 - 202
EN
At the time when the elements of theatre were introduced into the everyday life of European royal courts, such tendencies influenced also the ways of staging religious events. Magnificent processions during major Christian holidays, announcements of the saints, carrying of relics became an impressive self-representation. It was the religious influence of the period which brought new impulses into drama. Horizontal of human world, which inspires commedia dell'arte and Elizabethan theatre, is completed by the vertical: Baroque Drama extends "from heaven through the world to hell." As such, it represents the restoration of the medieval cosmos transcendent. The basis of Baroque theatre represents tension between immanence and transcendence and every event on stage is a part of the history of salvation. The focus of our research is on the Jesuit College in Spišská Kapitula, representing a participation of north-eastern part of the Austro-Hungarian monarchy on the rich cultural life of Baroque Europe. General tendency towards dramatisation of life is represented, inter alia, by tireless creative activity of the Jesuits, supported by a few individual members from among the nobility and clergy. The author examines the preserved documentation for the productions Sapientia Salomonis Quesita et Possessa (1649) and Magnes Amoris Divini (1650).
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