Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 55

first rewind previous Page / 3 next fast forward last

Search results

Search:
in the keywords:  SLOVAK NATIONAL THEATRE
help Sort By:

help Limit search:
first rewind previous Page / 3 next fast forward last
1
Content available remote

BORODÁČOVI CHLAPCI NA STRÁŽI

100%
Maťašík A.
Slovenské divadlo (Slovak Theatre)
|
2017
|
vol. 65
|
issue 2
158 – 171
EN
This study deals with the production of the play Chlapci na stráži [Boys on Guard], which was awarded in a competition organized on the occasion of the twentieth anniversary of the establishment of Czechoslovakia in the spring of 1938. It was written by Ján Borodáč, the artistic director of the Drama Company of the Slovak National Theatre, under the pseudonym of Ján Debnár. By the time it was premiered on 29 October 1939, there had been significant political changes. Following the Munich Agreement, Czechoslovakia, based on the decision of the prime ministers of France, Great Britain, Italy and Germany, had lost ethnically mixed Czech-German borderlands, President Eduard Beneš had offered his resignation and had gone into exile, and Slovakia had got the autonomy it was promised by the Pittsburgh Agreement (an obligation that had gone unfulfilled for long). The play which was supposed to celebrate the anniversary of the Czechoslovak Republic paradoxically acquired a new meaning under the pressure of these changes – it celebrated the autonomy and called for a defiance of revisionist pressures from Horthy’s Hungary.
2
Content available remote

THE LAST ACT IN CONSTRUCTING THE NEW BUILDING OF THE NATIONAL THEATRE IN BRATISLAVA (2003-2007)

100%
Matasik A.
Slovenské divadlo (Slovak Theatre)
|
2007
|
vol. 55
|
issue 2
245-327
EN
Since 1984 a new theatre building has been upgrowing in Bratislava. The regime of socialist nature not suspecting then that in five years will cease to end, had taken a resolution to invest into a grandiosely dispositionaly designed object with an independent scene for opera and ballet (900 spectators) for drama stagings (600 spectators) and an experimental flexible studio with capacity from 150 to appr. 250 seats. According to the original intentions the building was to be ready for the Slovak National Theatre by the beginning of 90s of 20th century, and even though the rough construction was assembled rather quickly, then tailing away began. After a turnover in 1989 the views on demolishing the construction were voiced out, since it had been thought to be a monument of the former regime. Resulting from a rapid inflation and price increase of all materials used, but also from the fact that many supplier companies had ceased, the construction was practically stopped in the half of 90s. In 1999 the Government adopted a decree on completing the construction in the election year 2002. Since this deadline was missed, the Government of Mikulas Dzurinda adopted a decision in 2003 about selling the building that was practically completed. After protests of the public and the opposition politics, the decision was changed and the Government started seeking the alternative ways of completing the construction. In 2004, the Government adopted the Memorandum on Understanding which enabled a private company Delaware (USA) to get control over the building, change the drama part into congress-shopping- entertaining complex and the site belonging to the building was to be used to construct a hotel. This step of the Government was met by a massive resistance. It was declined within the special meeting by the National Council of the Slovak Republic. The Council made it binding for the Government to complete the construction from public sources. On 14th April 2007 the theatre was dedicated with the most prominent representatives of the Slovak Republic present, and has become the residence of the Slovak National Theatre.
3
Content available remote

ASSOCIATION OF THE SLOVAK NATIONAL THEATRE

100%
Bokes F.
Slovenské divadlo (Slovak Theatre)
|
2008
|
vol. 56
|
issue 2
236-258
EN
The study by a historian Frantisek Bokes (1906 -1968) from the beginning of the 60-ies of the 20th century has been preserved in the archives of the Cabinet of Theatre and Film of the Slovak Academy of Sciences. The study is dedicated to analysis of development in the period of the first years of existence of the Slovak National Theatre from the aspect of the social - administrative connections of the origin of the first professional theatre in Slovakia. The operator of the Slovak National Theatre was the Association of the same name, established in 1919. The chairman of the Association became the Minister with full powers for governing Slovakia Dr. Vavro Srobar. This Association became the holder of the licence for professional theatrical activity in the whole territory of Slovakia. The theatre season was shared also by Czech, German and Hungarian theatre troupes, so that several months in year the Slovak national theatre (SNT) was performing in Kosice and other Slovak cities. In the season of 1921/22 the Promotional Troupe of SNT was also formed. Its mission was to exclusively perform in smaller cities and to promote Slovak (or more precisely Czech and Slovak) professional theatre. While the Association was dealing with the issue of operation, mostly with raising needed financial resources, the goal of the SNT artistic management was to create the conditions for gradual recruiting the Slovak artists and introducing the Slovak plays. In 1923 The Association of the SNT mandated the so called Actors' House, which in 70 appartments faciliated to stabilize the artistic powers of three SNT troupes (drama, opera, ballet). In the course of year 1923 there was a significant complication in the sphere of financial situation of the SNT. After the Minister of Education and National Enlightenment had been changed (Dr. Srobar had been after two years replaced by the Minister Rudolf Bechyne representing the social – democratic party), the state subvention was decreased and the finance supervision was tightened. The result of economic pressure on the Association was in the end concluding an agreement between the Ministry and the Association of the SNT, which meant that the SNT management went over into hands of the private theatre entrepreneur, a famous conductor Oskar Nedbal. This in fact concluded development phase where the Association of the SNT had played a key role, and in further years it remained in position of a representaive- control body.
4
Content available remote

A NEW BUILDING OF SNT - NEW ARTISTIC THINKING

100%
Mrlian R.
Slovenské divadlo (Slovak Theatre)
|
2007
|
vol. 55
|
issue 2
151-162
EN
The author, a Slovak theatrical critic and pedagogue, participated in the negotiations on constructing a new theatre building for the Slovak National Theatre in Bratislava in the second half of 20-th century. Since, on 14th April 2007 this building was ceremonially completed, it is interesting to read his memories where he is returning to the period of considerations on the need of a new theatre space. The author is emphasizing that in the second half of 20th century in older, usually adapted theatre spaces, was impossible to use the modern technical aquisitions when producing staging. So, the effort to construct an entirely new theatre building was not only the ambition of the then social elite to build an expressive architectonic dominant of the new municipal part on the Danube bank, but above all to create the better conditions for the artistic creation.
5
Content available remote

HUMAN AND ARTISTIC VERSION OF IVAN RAJNIAK

100%
Mrlian R.
Slovenské divadlo (Slovak Theatre)
|
2006
|
vol. 54
|
issue 2
230-276
EN
In summer of 2006 the Slovak theatrical artists and theatre supporters will commemorate two important jubilees - unaccomplished 75-th birthday of the actor, the member of the Slovak National Theatre drama troupe Ivan Rajniak, and 90-th birthday is to celebrate one of the founders of the modern Slovak theatrology, the academician Rudolf Mrlian. As a matter of a coincidence, both were born in a small village Hyba located under the Tatras, and the theatrologist R. Mrlian offered once a magazine to publish his monographic study on the actor I. Rajniak. The editorial office is, in the conviction that subconsciousness of continuity is a necessary prereqisite, publishing this study.
6
Content available remote

REMINISCENCE

100%
Valentova S.
Slovenské divadlo (Slovak Theatre)
|
2006
|
vol. 54
|
issue 1
54-57
EN
A Slovak National Theatre drama protagonist, an actress Sona Valentova, was a wife of P. Haspra, the director. Her special reminiscence reminds the final phase of the director's life, his fight against the malicious sickness. He was resisting until the last moment, preparing for the staging of Dostoyevsky's 'Dedina Stepancikovo' (The Village of Stepantchikovo) which was to be studied by the troupe in connection to his life jubilee.
7
Content available remote

ACTOR OPPORTUNITIES OF MARIA KRALOVICOVA WITH MILOS PIETOR

80%
Polak M.
Slovenské divadlo (Slovak Theatre)
|
2007
|
vol. 55
|
issue 3
462-470
EN
The author of a newly prepared monography of a jubilee actress of the Slovak National Theatre drama Maria Kralovicova, whose eightieth birthday in a full actor potential in her presence was commemorated by the Slovak theatrical public (born 7th June 1927) - how else, by the drama premiere in the Slovak National Theatre, is in a published chapter dealing with actress' cooperation with a director and actor Milos Pietor. Despite the fact it did not last long, for Kralovicova it meant a new source of actor and creative inspiration, helping her uncover new dimensions of her actor art. Milos Pietor became an internal director of the Slovak National Theatre Drama in 1978, even though he had performed several stagings with this troupe. In that period he had had an interesting artistic biography behind him and belonged to the most creative and inventive Slovak directors, who were opening new theatrical horizons of the Slovak theatrical art in this discipline. Milos Pietor possessed a well marked own dramaturgy, but also his way of leading actors was unique. Mainly his approach to model the actors in stagings was pointing at his own special handwriting stemming from psychology of a character and its real picturing. Undoubtedly, he was a dignified continuator of such personalities as Borodac, Jamnicky, Zachar or Budsky in a relatively short history of the Slovak theatre. The cooperation with Milos Pietor was definitely beneficial for Maria Kralovicova. Thanks to director's resolution, the new dimensions of actor art had been occuring in her acting in a greater extend - ranging from convincing psychological exploring, striking dramatic shape of the characters, moving towards abbreviation, stylization and hinting, to irony and grotesque. It was fruitful, with a result of ripe fruit of artistic actor creativity, representing the unforgettable characters that Maria Kralovicova had created under leadership of this director.
8
Content available remote

PAVOL HASPRA AND HIS THEATRE OF PASSIONS AND EMOTIONS

80%
Matasik A.
Slovenské divadlo (Slovak Theatre)
|
2006
|
vol. 54
|
issue 1
5-15
EN
A monothematic issue of the magazine the Slovak Theatre publishes the contributions which were presented at the 3rd Theatrological Conference in the cycle Today and Here held in Banská Bystrica on 9th December 2005. The conference was organized by the Cabinet of Theatre and Film of the Slovak Academy of Sciences, the Faculty of the History of Arts of the Academy of Arts, the Slovak Theatrological Society, the Association of the Slovak Theatrical Critics and Theoreticians and the Association of Philologists Self-Help with the contribution of the Minister of Culture of the Slovak Republic.The organizers formulated the topic: Pavol Haspra - Theatre of Passions and Emotions. Pavol Haspra, a theatre director, was for the period of four decades an integral part of the Slovak National Theatre drama and a significant personality of the Slovak theatrical history. The conference initiator, a theatrical critic and historian Andrej Matasik in the introductory study focuses on the characteristics of Pavol Haspra´s theatrical opinion. He observes that: It is known that by a stature, Haspra was quite short, but by his temperament and zest, and the ability to kindle others, by his eruptiveness and resourcefulness, he grew taller than his surroundings. Haspra - after acccessing to the Slovak National Theatre - became the director of mainly contemporary plays, and since he performed the substantial part of stagings in the sixties at Mala scena (The Small Stage) in Bratislava, in fact in the conditions of a chamber space where there is a close contact between an actor and a spectator, hence we can consider Haspra also the initiator and effecter of the cardinal transformation of the Slovak dramatic art in the sixties. The space of Mala scena (The Small Stage) was forcing him to ask for a maximum authenticity from the actor, since every single fraud could be easily detected by the spectator, and so deceiving by a magic of generous mis en scene, by a lofty and pathetic gesture, or a showy articulation of the text was beyond possibility. At the same time he was aware that these, very often seriously looking dramatic encounters of the antagonistic views, are just boring talks on positions, explanations of philosophical disputes, while for an eruptive explosion of an authentic emotion to happen, sometimes only a little mite is needed, other time just a neglected or tolerable impuls. This is why he was willing to painstakingly look for those naggings or ostensible reasons even where their occurence was just potential.
9
Content available remote

UMELECKÉ ŤAŽENIE REŽISÉRA PETRA KONWITSCHNÉHO PROTI „MŔTVEJ OPERE“

80%
Mojžišová M.
Slovenské divadlo (Slovak Theatre)
|
2019
|
vol. 67
|
issue 4
335 – 352
EN
The text deals with selected principles of the work of the German opera director Peter Konwitschny (1945). The lifelong ambition of an artist who openly proclaims a left-wing orientation is to distract the audience from consuming indulgence in beautiful music and make them a socially responsible, thoughtful participant in his productions. He has created, during his half-century career, a stable database of isotopes through which he fulfils his ideas, from curtain up in the auditorium to solutions resembling immersive theatre strategies. The author presents examples from several productions that Peter Konwitschny has directed on European stages, including the Slovak National Theatre in Bratislava.
10
Content available remote

PALO HASPRA - ALSO 'MY' DIRECTOR

80%
Taragel D.
Slovenské divadlo (Slovak Theatre)
|
2006
|
vol. 54
|
issue 1
50-53
EN
Palo Haspra seen by the eyes of an actor who outlived with him unforgettable thirty-four years in a theatre but also in a film or a television production. The member of the Slovak National Theatre drama troupe, and a frequently cast actor Dusan Taragel, states that working with this director was hard, drudging sometimes hectic, full of the jitters and the fights, but also full of the inventing new unknown possibilites, many times like opening windows into unexpected distances and spheres which neither he or his 'subordinates' that is the actors, had never dreamt about before. A theatre shark, a turbulent person, a super-active male, a knot of the nerves, a man of a plumbless energy having been able to occasionally draw the actors mad while rehearsing, often causing them to act in trance against him - expressly and absurdly, sometimes dementedly, submissively, even insanely, and not once, especially in these affects, he used to yell: 'This is it, this is exactly what I wanted'.
11
Content available remote

SÚDOBÁ OPERNÁ TVORBA V REPERTOÁRI SLOVENSKÉHO NÁRODNÉHO DIVADLA 1920 – 1938

80%
Mojžišová M.
Slovenské divadlo (Slovak Theatre)
|
2015
|
vol. 63
|
issue 4
357 - 376
EN
The study examines the introduction of the 20th-century opera production to the Slovak National Theatre Opera in 1920–1938. It comes to a finding that it constituted a quantitatively significant part, especially in Karel Nedbal’s era (1928–1938). However, a qualitative analysis reveals that only some of the produced titles were successfully time-tested and included into the key opera repertoire, today referred to as the 20th-century opera classics. These included Leoš Janáček and Richard Strauss’s operas and the profile opuses of the 20th-century opera avant-garde (for example, Sergei Prokofiev’s The Love for Three Oranges, or Dmitri Shostakovich’s Lady Macbeth of Mtsensk). On the other hand, the Slovak National Theatre ignored the classic opuses of Impressionism (Debussy, Ravel, Falla), Neoclassicism (Stravinsky, Hindemith), or the Second Viennese School (Schönberg, Berg) and their successors. However, it produced several titles which are nowadays regarded as historical artefacts of the period, which had no further stage life. The study also considers rarely produced or no longer produced plays by Czech and Slovak authors and opuses which fulfilled rather extra-artistic (social) roles in their times (for example, works by authors from allied countries), that means productions which have been more or less overlooked by researchers so far.
12
Content available remote

MOZART'S OPERA STAGING IN SLOVAKIA AS DIALOGUE ON DIRECTORIAL THEATRE SHAPES

80%
Blahynka M.
Slovenské divadlo (Slovak Theatre)
|
2006
|
vol. 54
|
issue 3
367-380
EN
In his contribution a prominent Slovak opera critic and theorist analyses the shapes of the directorial interpretations of Mozart's operas in the Slovak National Theatre Opera staging during the years 1920 - 2001. In the period between wars, the staging of 'Magic Flute' (1938) by director Viktor Sulc (Max Reinhard's student) can be used to demonstrate the connection of the Slovak theatre with post- expressionist development of the middle-European opera theatre. In the period after the end of World War II staging of the director Karl Jernek represent the effort to equal with the certain ideological and poetic compromises of realism established by the contemporary official aesthetics. The evidence is seen on two staging of 'Don Giovanni' (1956 and 1961). The first one is orientated to the contemporary understanding of realism, the second is a bit diverted, and the scenographic descriptiveness is substituted by an emphasis on the history. He also made a staging of 'Magic Flute' (1949). Jernek's peer, an outstanding director from Brno Milos Wasserbauer created two staging of Mozart's operas 'Le Nozze di Figaro' (1955) and 'Magic Flute' (1969) in Bratislava, which exceed the contemporary requirements towards realism and aim at seeking the ideal and psychological dimension of Mozart's musical - dramatic characters. While 70-ties and 80-ties are considered to be the years of declination (decadence, or stagnation) in the Slovak National Theatre Opera with regard to directorial interpretation of Mozart's operas, after 1989 new staging tendencies have been developing. Milan Sladek, a pantomime and director of the pantomime theatre, made a staging of 'Le Nozze di Figaro' (1991) in the form of a puppet theatre. Through puppets representing types of commedie dell'arte, in the opera staging of 'The Marriage of Figaro', he is revealing mainly the erotic situations, which were in the previous staging of 'The Marriage of Figaro' outlined with decency, and is using a type of skittishness, which could - when compared to puppets - hardly be achieved by the opera actors. Towards modern directorial theatre tendencies in opera during break through of 20th and 21th century have been approaching Mozart's staging of operas 'Cosi fan tutte' by director Pavol Smolik (1998), and 'Don Giovanni' by director Jozef Bednarik (2001). Both have the artistically valuable and problem sides. With Bednarik, who reached to opera from drama theatre, and from opera glanced off to the commercial musical projects, positioning an opera story into the surrounding of a call- house is not surprising, similarly like the concluding scene with picturing 'Don Giovanni' in a mental hospital getting the shots of a cold shower.
13
Content available remote

MILOŠ PIETOR A SHAKESPEAROVE HISTORICKÉ KRONIKY V SND

80%
Sládeček J.
Slovenské divadlo (Slovak Theatre)
|
2017
|
vol. 65
|
issue 2
196 – 217
EN
The plays of William Shakespeare, except for Hamlet (Nová scéna, 1974) and Richard III (SND, 1987), do not define the artistic profile of Miloš Pietor, yet they significantly supplement it. Although as a dramaturge he felt at his best in a different repertoire, his several encounters with Shakespeare cannot go unnoticed. They must be examined for complete information about the director’s artistic development, but also about the productions of Shakespeare in Slovakia. Pietor had encountered Shakespeare six times; their seventh encounter was interrupted by the director’s unexpected death. The present paper deals with Pietor’s production of Shakespeare’s historical chronicles for the Slovak National Theatre in the period of 1980–1987.
14
Content available remote

PATHS OF SLOVAK DRAMATIC ART

80%
Matasik A.
Slovenské divadlo (Slovak Theatre)
|
2008
|
vol. 56
|
issue 1
12-20
EN
The study is a part of a prepared monography on two great generations of the Slovak dramatic actors. The founders of the Slovak professional theatre were drawing experience mainly from Czech colleagues who in 1920 had started in Bratislava and in the Slovak countryside performing under the title the Slovak National Theatre. Borodac was aiming at professionalisation of the Slovak theatre slowly and systemically. Since 1921, when he saw the staging MCHAT, he starts mentioning Stanislavski as his great model, but the reality in a single professional theatre in Slovakia was completely different. The best Slovak amateur actors were reacting with restrain and denial towards the offers placed by the rural Czech theatrical company, and spectacular background of Slovak stagings was in multinational Bratislava very narrow. That is why not even the most successful pieces did not have a chance to reach a higher number of reruns. He did not have actors at disposal who could have communicated in Slovak without any difficulty. At the break of fifties and sixties, graduates from the Musical and Dramatic Academy (originated as a initiative of Borodac in 1925, since 1941 the State Conservatory) and the first graduates from the University of Fine Arts (originated in 1949) formed a basis of the second, in full meaning of the word professional generation of the Slovak theatrical artists. Their situation was diametrally else. Above all, the theatre did not need to struggle to achieve acknowledgement as an independent artistic genre. This fight for theatre was thanks to struggling and victory of interwar avant-gardes over. Theatre troupes were not performing on the basis of small trade enterprising, but have become art institutions subsidized by the state. In fifties a first massive generation of modern Slovak Bratislavian theatre goers was formed. In the Slovak theatre-historical sources a contrast view can be found: Borodac is indicated as a dramatic realist, Jamnicky as a creator of a stylized theatre. It would be more precise to say that Borodac began with descriptive realism in combination with actor's routine and cliché. He gradually succeeded to work his way out to aesthetics, which is determined as psychological realism. Jan Jamnicky in his early director's times experimented in spirit of what he knew about discharge of interwar dramatic avant garde and quickly realized that too much of miniature, aids and other 'crutches' are obstructing the actor. Borodac's interest was to invoke an illusion of an actual space, as opposed to Jamnicky who is searching for an architecture of the theatrical space, together with Emil Bellus is preparing his stagings not anymore like 'animated' pictures, but in arranging scenes he is looking for a way to support actor's creativity and earn the most possible strong effect on a spectator.
15
Content available remote

OD AKADÉMIE POÉZIE PO ŠTYLIZÁCIU JEJ SCÉNICKÉHO OBRAZU V DIVADELNOM TVARE

80%
Podmaková D.
Slovenské divadlo (Slovak Theatre)
|
2017
|
vol. 65
|
issue 2
172 – 195
EN
In the 1940s the Drama Company of the Slovak National Theatre introduced four poetry productions, which demonstrated the stage potential of the symbiosis of verse and a music-accompanied recitation in an original stage design solution. The single presentation of poetry of Poézia revolúcie a boja [The Poetry of Revolution and Fight,1945] directed by Ján Jamnický and Pásmo poézie Janka Jesenského [The Show of Poetry by Janko Jesenský, 1946] directed by Jozef Budský were the first independent attempts at staging selected poetry. Besides recitation, they were dominated by the visual sign, powerful music sometimes accompanied by the singing of individuals and a voice band, and distinctive lighting design. Botto’s Smrť Jánošíkova [The Death of Jánošík] and Sládkovič’s Marína (both in 1948) directed by Jozef Budský displayed all features of synthetic theatre, combining recitation, voice band singing, scenic and visual solutions, metaphor, originally composed music inspired by the folk song, dance, film screening, and meaningful lighting. Jozef Budský indirectly built on Czech theatre, particularly on E. F. Burian. Both masterpieces by the authors of Štúr’s generation (Ján Botto, Andrej Sládkovič) aroused the interest of the expert public and the audience. It triggered arguments about excessive directorial intervention and insufficient ideological character, especially in the theatre form of Marína.
16
Content available remote

A PERSONAL RECOLLECTION ON A DIALOGUE OF AN ACTOR WITH DIRECTOR

80%
Sarvas J.
Slovenské divadlo (Slovak Theatre)
|
2006
|
vol. 54
|
issue 1
18-26
EN
An actor who was co-operating several years with the director Pavol Haspra in the Slovak National Theatre drama, and also in the television production, recalls their creative encounters. Palo Haspra was according to Sarvas's experience an original, inimitable director, mainly when it comes to work with an actor. There were some doubts whether he was prepared, or simply started creating straight on the spot, reasoning that he was only choosing what could be gained and found on the stage. This is not true. His directorial book was always carefully prepared. Other thing is, that he really allowed himself to be inspired by the rehearsals, by the actors, and that straight away he could see things much differently on the stage. There were some actors who did not like this method much, murmuring, muttering, or rebelling against, but when working with him, each of them created the unforgettable dramatic creations. Haspra was a daredevil, researcher, able to exalt a dramatic text into a specific staging art, namely such works of art, which had not been performed before - e.g. our classics. He was not afraid to direct the young contemporary authors, he was not the man to settle for the trodden pathways. He risked. And alongside with that, I cannot recall a single staging that would have been bad.
17
Content available remote

MACHATA'S LEAVE FOR DESERT .

80%
Cavojski L.
Slovenské divadlo (Slovak Theatre)
|
2008
|
vol. 56
|
issue 1
3-11
EN
A prominent historian of the Slovak theatre is commemorating by his study a significant life jubilee of one of the excellent Slovak theatre, film and radio actor, Karol Machata. He is summarizing his artistic creation since his beginnings in the theatre of Martin, where among others he had played the main role in Mahen's drama 'Janosik' and by his extraordinary dramatic talent helped in discovering a classic play by Jan Holly Gelo Sebechlebsky in the premises of a modern theatre. After he had come to a representative drama theatre of The Slovak National Theatre, he co-participated in work with directors Karol Zachar, Jozef Budsky, Pavol Haspra and others, on tens of stagings which belong to the best class of theatre performances - from Goldoni 'The Fan', through 'Merry Wives of Windsor' by W. Shakespeare, Chekhov's 'Ivanov' up to 'King Lear'. Machata's characters have always been typical in excellently worked out vocal performance, he was able to create vivid individuals out of supporting roles which thus have become centred in spectators' perception. His last theatre character was Creon in Jeffer's version of an antique 'Medea' (1966). Creon is at the end of Machata's creations. After latest first night he stayed three more seasons in the theatre but has not got a another role since then.
18
Content available remote

ON ERA OF THEATRE OF PAVOL ORSZAGH HVIEZDOSLAV

80%
Kret A.
Slovenské divadlo (Slovak Theatre)
|
2007
|
vol. 55
|
issue 3
420-427
EN
In the spring of 2007 the dramatic troupe of the Slovak National Theatre (SNT) moved from the scene of the Theatre of P.O. Hviezdoslav and 'Mala scena' (Small Scene) into the completed premises of the National Theatre. The building of the Theatre of P.O. Hviezdoslav which had the theatre been provided from (with in) 1955 (opened by Borodac's production of Hviezdoslav's tragedy 'Herodes and Herodias' on 28th May 1955) after a half century lost the status of the local scene of the representative Slovak drama. The author who spent a substantial part of this period in the SNT drama as a dramaturgist, is in his recollection returning back to the most remarkable creative results of the theatre, connected with his activities in this building.
19
Content available remote

PAVOL HASPRA - ON ONE EPISODE - A VERY LONG SERIAL

80%
Fejko S.
Slovenské divadlo (Slovak Theatre)
|
2006
|
vol. 54
|
issue 1
89-84
EN
A process of the emancipation of a theatre from the position of an 'interpreter' of a poetic (ergo literary) work, typical for the 20th century European theatre, marked also Pavol Haspra's directorial creation. In the period of his coming to a professional theatre, a dominant position of a dramatist as a determining former of the resulting work of art, had not been not fully respected, but a conviction that a staging does not mean just a text 'animation', but a worthful and the original work of art, was gradually promoted. A theatrical dramatic adviser and a manager Stefan Fejko documents his implication on his co-operation with the director P. Haspra in preparatory work on Stefan Kralik's staging 'Margaret zo zamku' (Margaret from the Castle) in the Slovak National Theatre drama (opening on 19th January 1974 in the P.O. Hviezdoslav's Theatre).
20
Content available remote

PAVOL HASPRA - 'JANOSIK' (FOLK HERO), SMALL BY GROWTH, GREAT BY ENERGY

80%
Svoboda J.
Slovenské divadlo (Slovak Theatre)
|
2006
|
vol. 54
|
issue 1
27-31
EN
A director, colleague and peer of Pavol Haspra in a recollection feature talks about Haspra as about a director, whose trait is explosiveness, striking colours, sharp edges, rough and loud tones, an expressive abbreviation. He states that Haspra's stagings were built on the actors, and in the last phase he used to build on those 'his' ones who expressed their gratefulness by the professional efforts and perfomances in the plays with a strong dramatic conflict, full of the passion and the wild emotions.
first rewind previous Page / 3 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.