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ROK 1948: EMANCIPÁCIA ŽIEN A SLOVENSKÉ DIVADLO. PRÍSPEVOK K DEJINÁM RODOVÝCH VZŤAHOV NA SLOVENSKU

100%
Lindovská N.
Slovenské divadlo (Slovak Theatre)
|
2018
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vol. 66
|
issue 2
141 – 163
EN
From the cultural and art point of view, the year 1948 in Czechoslovakia was not just the so-called "Victorious February” of the working people. The remarkable phenomenon of this era, which was related to the post-war political and social movement, was the phenomenon of female emancipation and feminization of the stage production. During the two consecutive theatre seasons 1947/1948 and 1948/1949, at The New Scene Theatre of the National Theatre in Bratislava, several women, led by the director JUDr. Magda Husáková created several productions. These women contributed to deconstructing the beliefs of typically male and typically female professions as well as transforming traditional views of the role and position of both sexes in society and the arts. The attention of theatre historiography in the recapitalization of the impacts of the breakthrough events of the Czechoslovak post-war politics of the forty years on cultural events so far focused mainly on the issues of dramaturgy and poetics, the process of ideological transformation and the sovietisation of art in the spirit of socialist realism. The subject of socialist emancipation and theatre was at the edge of the interest of our theatrology. Ten years ago, a collective monograph, dedicated to the first lady of the Slovak theatre directors, Magda Husáková-Lokvencová, managing to free her forgotten personality and work and return her to the context of Slovak theatre history in the second half of the 20th century. There is still room for further research, complementing the knowledge and reflection of the advent of women in the sphere of theatre directory, dramaturgy and scenography artwork, as part of the history of gender relations in Slovakia. Increased interest in the history of women provokes a new reflection on the issue of emancipation and theatre.
2
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DVE SLOVENSKÉ INSCENÁCIE VLADIMÍRA MORÁVKA

100%
Lindovská N.
Slovenské divadlo (Slovak Theatre)
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2020
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vol. 68
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issue 4
335 – 353
EN
The Czech director Vladimír Morávek has staged two remarkable theatre productions in Slovakia. Both were staged on the verge of the millennia and were inspired by the world theatre classics. In 1999, Morávek staged Shakespeare’s Macbeth at Andrej Bagar Theatre in Nitra, and in 2005, he directed Cyrano de Bergerac by Edmond Rostand on the stage of the Drama Company of the Slovak National Theatre in Bratislava. The production of Macbeth in Nitra was the most successful and most frequently awarded production of the 1998/1999 theatre season. Both national and international theatre critics were particularly generous in their reviews. The production of Cyrano de Bergerac in Bratislava was among the repertory titles most popular with the audiences. However, reviewers were more reserved in their opinions. Both the productions had several things in common, namely, they both strived to interpret the well-known drama text in a novel way, while putting emphasis on actors’ performance, visuality, epic staging, and musicality. Morávek’s directions of Macbeth and Cyrano have enriched the relations between the Czech and the Slovak theatre scenes with a new experience and have become a significant part of the art biographies of several theatre professionals.
3
Content available remote

IVAN VYRYPAYEV IN SLOVAKIA

100%
Lindovská N.
Slovenské divadlo (Slovak Theatre)
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2019
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vol. 67
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issue 3
203 – 223
EN
Theatre plays by Ivan Vyrypayev, Russia’s foremost and most influential contemporary play-wright, are frequently staged not only in Russia, but also abroad. Several plays have even been written on demand of European theatres. Vyrypayev is a very special and in many ways antipodal author. On the one hand, he bases himself upon the Russian cultural tradition, while engaging in a critically tuned dialogue with it. He introduces new staging techniques and new themes to theatre production, which respond in a very sensitive way to the current state of European civilisation and to the situation of man in the world affected by the crisis of values. Slovak theatre became first aware of his work in the early 21st century. Since 2004, up until now, his plays Sny [Dreams], Iyul [July], Pyanye [The Drunks], Ilyuzii [Illusions], Letniye osy kusayut nas dazhe v noyabre [Summer Wasps Bite Us Even in November], Nevynosimo dolgiye obyatiya [Un-bearably Long Embraces] have been staged in Slovakia. Initially, it was the Slovak independent theatre expressing its interest in Vyrypayev’s texts, but very quickly, mainstream theatres followed suit. They have crossed generational barriers, and in the staging of his plays, the actors of young and oldest generations deliver remarkable performances. In a country in the heart of Europe, the poetics of the author who creates on the borderline between the East and the West, has resonated markedly well with the audiences. The theme of the relationship between Slovak theatre and Ivan Vyrypayev’s dramatic work remains open, whereby the presented study records and reflects on the current situation.
4
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DESAŤ DNÍ JÁNA JAMNICKÉHO SO SOVIETSKYM DIVADLOM

100%
Lindovská N.
Slovenské divadlo (Slovak Theatre)
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2017
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vol. 65
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issue 2
121 – 141
EN
Art was perceived in the Soviet Union as a part of ideology and propaganda aimed not only at the domestic environment but also at foreign countries. State cultural policy was presented through a series of magnificent meetings and shows, to which also participants from abroad were invited. In the 1930s Moscow was the venue of several theatre festivals, which were attended by Czechoslovak theatre makers. In 1936 it was also attended by Ján Jamnický, the novice director of the Slovak National Theatre in Bratislava. The Slovak theatre maker saw a lot of inspiring productions and experienced the initial period of a campaign aimed at suppressing the freedom of artistic expression. He became a witness to the twilight of Russian theatre avant-garde. The present paper describes the theatre experiences of Ján Jamnický in the Soviet Union and their impact on his life, production and style of direction. It points to a series of overlooked facts which are necessary for a complete understanding of the historical and artistic context of Soviet theatre and Jamnický’s journey.
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