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Content available remote PAVOL HASPRA - 'JANOSIK' (FOLK HERO), SMALL BY GROWTH, GREAT BY ENERGY
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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.
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Content available remote A PERSONAL RECOLLECTION ON A DIALOGUE OF AN ACTOR WITH DIRECTOR
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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.
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Content available remote REŽIJNÁ POETIKA ONDREJA SPIŠÁKA
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In his general overview, the author summarizes the specifics of poetics of Slovak award winning theatre director Ondrej Spišák (1964) in the context of expressive modalities of his work as well as distinctive features of his theatrical and directorial work. The holistic approach to Spišák’s directorial work allows the author to some extent generalization of certain characteristic features of the artist’s work although the study is not a full portrait of the director O. Spišák. On the basis of short analyses of selected productions, the author points to the apparently dominant constructional and compositional elements of his stage work. Gradually, he specifically identifies the means used by the director to create a theatrical designatum, which undoubtedly become the basis for unique creation of particular parameters of receptions, effects on the viewer.
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Unquestionably, Vladimír Strnisko (1938) is among the most praised Slovak theatre directors of the latter half of the 20th century. His early works revealed his dramaturgical and directorial method of staging a theatre production, which is based on a thorough text analysis resulting in narrative update. Given the metaphorical images of society, each production aroused strong emotions and provoked to deliberate over a text and its realisation through the actor and the mise-en-scène. The study traces the development of his theatrical vision through selected productions in Divadlo na korze (Theatre on the Promenade) and in the drama ensembles of Nová scéna (The New Stage Theatre) and of the Slovak National Theatre. They are united by a leitmotif of a mirror reflecting the current moral dilemmas in society, which the director often portrays through non-verbal action, by creating tension on stage, by counterpoint, and by a number of details that steer the actors to an accurate characterisation of the characters rendered by them. This holds true of his works prior to November 1989 as well as of his directing projects within a new socio-political situation up until the second decade of the 21st century. The majority of his directing projects in the 1970s and 1980s conveyed a picture of a cynical world, the disintegration of the world, and personal gain. Since the 1990s, after a socio-political turnaround, in his theatrical images, he has not eased off on critical thinking about the development of society, which, however, has not always been well received by the audience.
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Content available remote PRIRODZENÉ A UMELÉ AUTORSKÉ NÁVRATY K SLOVENSKEJ HISTÓRII
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Documentary drama does not have a real tradition in Slovakia. Many plays from the socialist times deformed reality to back up ideology. New tendencies, which tried to describe the history realistically, came only slowly. After 1989 we even talk about the stagnation or crisis of Slovak theatre. The theatre lost the contact with political life and lived off the entertaining function. As a paradox, in the new millennium it is young playwrights and directors, who decided to turn back to history and depict historical figures (artistic or political) or historical events. The paper will bring case studies from the point of a spectator / theatre critic on the topic that is brought on stage in contemporary Slovak theatre and how the creators deal with it in terms of preparation of the performance as well as the final perception by the audience. As the „case study“ it uses four performances from regular repertory theatres in Slovakia, some of them as a result of a creative urge of the author / director, some of them as a result of institutionally initiated project.
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This article deals with the still barely explored theatrology during the era of Janko Borodáč in the Košice theatre, where he was appointed as a director due to political influences in 1945. In less than a month, Borodáč was able to consolidate the theatre, consisting of three ensembles, which gradually managed to achieve success on a national scale. After 1948, when Communist ideology forced artists to incline towards socialist realism, Borodáč’s theatrical method, which until then was considered archaic, proved to be very productive for the Košice theatre. Borodáč, being an expert in the Konstantin Sergeyevich Stanislavsky method, was able to avoid the simplistic, vulgarizing deformations, characteristic for this period, of psychological realism. On the contrary, he created his productions within the spirit of the true essence of the Moscow inhabitant’s style. Thus, the study tries to indicate the historical context of Borodáč’s inclination to Stanislavsky’s method and to identify the basic dramaturgical curriculum as well as the directing achievements of the Nestor on the Košice scene of Slovak theatre.
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The study draws attention to the fundamental attributes of the poetics of Peter Čanecký, a prominent representative of Slovak costume design. The author concentrates on productions created in collaboration with her long-time colleague, director Roman Polák, and on a sample of concrete theatre titles she ventures to name and describe the basic features of Čanecký’s visual poetics.
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Content available remote PEDAGOGICKO-TVORIVÁ METÓDA THOMASA OSTERMEIERA
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How does an actor become the creator of his own art, rather than performer of the stage director’s instructions? What are the creative sources he can call upon? And what are the tools of a stage director (pedagogue), willing to guide his (student) actors to an autonomous creative process? For the sake of finding answers to these questions Thomas Ostermeier has developed a specific working process that rests on the Brechtian inductive method, but it also contains a variation of many elements of Stanislavsky’s system and of Meyerhold’s legacy. The stage director’s objective, while employing this method, is, in his own words “not to direct at all, not to dictate, not to order, prescribe, tell or instruct” but quite the contrary “to delegate [his] work to actors, to their art, to their imagination, and to their expertise”. The paper not only aims at describing this method, but also at reflecting its concrete application during a workshop led by Ostermeier, the target group being the students of DAMU in Prague.
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Content available remote REŽISÉR JURIJ ĽUBIMOV, LEGENDA RUSKEJ KULTÚRY
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The theatre director Yuri Ljubimov (1917–2014) entered the annals of Russian and world theatre as a founder of the legendary Taganka Theatre in Moscow. In 1964–1984 the Taganka Theatre was the most famous theatre of the end of the Soviet era. Yuri Ljubimov took inspiration from Stanislavski, Meyerhold and Vakhtangov and enriched the Russian theatrical tradition with impulses from Bertolt Brecht. He created a modern theatre with a distinct civic attitude, untraditional repertoire and excellent acting company at Taganka Square. The Taganka Theatre was considered “an island of freedom” in the sea of Soviet bans and restrictions. The history of the theatre mirrors the history of the Soviet Union from the political thaw to perestroika. The present article describes the life and work of the director Yuri Ljubimov, the fate of the Taganka Theatre and the director’s conflict with it. It points out the role of Ljubimov’s long-term partner, the famous Russian film star Lyudmila Tselikovskaya, in the existence and formation of the Taganka Theatre’s repertoire.
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Julo Zborovjan (1921 - 1974) belongs to the founding theatrical generation connected with the Slovak professional theatre in Košice after World War II. Being a poet, translator, author of plays for children, and, above all, a long-time dramaturg of the Košice State Theatre, he has collaborated with many theatre directors thanks to his position in the theatre. Perhaps Janko Borodáč and Magda Husáková-Lokvencová had the most significant impact on his life. In Zborovjan’s recently catalogued written estate, one can also find extensive correspondence with the two named personalities. Its content is likely to contribute to the complementation, clarification, confirmation or correction of the existing theatrical-historical research, which the presented study also aims to point out.
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