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  1. 3 Slovenské divadlo (Slovak Theatre)

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  1. 3 Podmakova D.

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  2. 1 2006

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THE PAST VERSUS THE PRESENT, OR, THE PRESENT (AND THE FUTURE?)

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Podmakova D.
Slovenské divadlo (Slovak Theatre)
|
2008
|
vol. 56
|
issue 3
282-288
EN
The authoress maps out the changes in the direction of the theatre in the period in question based on her deliberation of production elements (dramaturgy, direction, actor's means of expression, stage design, theatre space), and she also gives a general overview of the current situation in the theatre. She is especially intrigued by the diversity of themes, artistic means of expression, and principles, which determine new trends in the creation of young and middle generation of theatre makers. The question which crops up is about a more encompassing communicativeness, or, rather, the narrowing down of the group of interested parties or recipients, and, above all, about a need to capture these trends and to process them by theatre theorists. Intriguing is not only the fact about the mingling of drama/theatre genres but also, in addition to musical productions, a kind of comeback to the 'poor, pure theatre'.
2
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SLOVAK THEATRE IN UNTRADITIONAL STUDIO SPACE IN 70-s AND 80-s OF 20th CENTURY

100%
Podmakova D.
Slovenské divadlo (Slovak Theatre)
|
2006
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vol. 54
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issue 3
402-416
EN
The authoress is describing the genesis and development of the studio theatres in the above mentioned period in Slovakia, while naming the peculiarities of the Slovak situation. She is reminding the conditions of their origin in short, and comparing them with the situation in the Czech Republic, mainly from the point of view of their institutional classification, but also of the artistic effort. For example, the Czech theatre troupes like the theatre from Brno 'Husa na provazku', 'Ha-Divadlo', 'Studio Ypsilon' from Liberec, 'Cinoherne Studio' from Usti, started like amateurish troupes, and later became professional. The Slovak theatricals did not separate from their mother theatres, making use of the possibility to function alongside with a regular theatre operation. They used to play in untraditional spaces, e.g. in the underground rooms of the theatre, museums, chapels, or in a non-approved boiler room of the theatre building in Presov.
3
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METAMORPHOSES...

100%
Podmakova D.
Slovenské divadlo (Slovak Theatre)
|
2008
|
vol. 56
|
issue 3
279-281
EN
This past decade, we have been witnessing marked changes in the Slovak theatre, which are more about poetics and the manner of the theatrical production of our time rather than the institutional nature of the theatre. To put it differently - they relate to the sets of the knowledge of artistic devices creating different styles and directions in modern drama and dramatic expression of theatre artists. Would it be proper to talk about new trends? Artistic trends? Or would it be more appropriate to just talk about differences? Subsequent to 1989, the new socio-political and economic orientation has ushered in new themes and forms and eroded the well-established traditions of the Slovak theatre. It has prompted a dialogue between various economic and political systems on the one hand and artistic freedom on the other. Not all of us are prepared to approach this freedom as an opportunity to broaden up one's horizons of knowledge. This is especially true of the older generation of theatre artists who are not particularly keen to follow the modern theatre (but, there are also exceptions, and the best proof is the current edition of The Slovak Theatre), whereby they argue by making reference to similar trends in the 1960s and that, in fact, there is nothing novel about the current trends. However, as distinct from the 1960s, which foreshadowed hope, optimism, 'the free world' of our time is branded by terrorism, pessimism, disillusion... parallel to this enervation, we have been witnessing the theatre of rich thoughts, a poetic, lyric theatre laudating life... therefore, it is imperative to take note of all stimulating forces which influence the arts and be cognizant of their connections which go beyond the domain of the theatre. Listening, watching, holding discussions…not just harping on threadbare arguments. The workshop 'Premeny poetiky slovenskeho divadla na prelome 20. a 21. storocia' (The Metamorphoses of the Poetics of the Slovak Theatre at the Turn of the 20th and 21st Centuries) was just that. The venue of the workshop was the Little Congress Centre of VEDA, Publishing House of the Slovak Academy of Sciences; here, on 18 June, 2008, a dialogue between theorists and critics was started, with the financial support of the Ministry of Culture of the Slovak Republic and VEGA Grant Agency.
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