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1
Content available remote HASPRA'S MORNING, NOON AND EVENING
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A generation yokefellow of a director Pavol Haspra, a theatrical critic and historian Ladislav Cavojsky, has introduced the director by his collection of the analytical and the critical texts. A view on Pavol Haspra's home file of a director of the Slovak National Theatre drama, in a bow from an extraordinary successful Radickov's play 'Pokus o lietanie' (An Attempt to Fly), via a classical Vladimir Hurban's play 'Zamka skripi' (The Screeching Lock), O'Neill's stage 'Ladar prichadza' (The Iceman is Coming), a new original staging of Michal Kocan Play-back, up to Kovacevic's 'Zberne stredisko' (The Gathering Place) enables those interested to follow not just complexity of a creative fight of a director, but at the same time to perceive the conditions of a stagings' origination.
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Content available remote THEATRE IN LIFE, LIFE IN THEATRE
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A scenographer who co-operated with Pavol Haspra since his coming to the Slovak National Theatre until the last opening, is summarizing his own experience. A co-operation of almost 40 years undyingly confirmed that our tandem lived and endured for so long on the basis of an internal proximity both human and artistic, on the basis of congeniality in their attidude towards life - nourished by a common belief in the rules of ethics, a common endeavour in humanization of the fleshly space. The tensions, jitters, misunderstandings, but also bigger conflicts, shorter or longer disagreements composed that obligatory tax when searching and respecting a personality, a topic, an author's idea, or the director's intentions in a decisive shape of a staging, its visual form and a directorial conception. Pavol Haspra always tried to make 'fitting clothes' in relation to the author in order to make its artistic resonance vibrate, so that the clothes were not only a mere whim - formal and self-concentrating. He always prefered the author's manuscript to his own.
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Content available remote HASPRA'S ENCOUNTERS WITH TAYOVSKY'S 'ZENSKY ZÁKON' (THE FEMALE RULE)
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A theatrical critic and theorist Elena Knopova continues in researching the issue of Haspra's stagings of Tayovsky's 'Zensky Zakon' (The Female Rule). She states that in Haspra's staging genesis of Tayovsky plays, a significant interpretation shift occurs when considering the first and the last staging of 'Zensky Zakon' (The Female Rule). By analyzing of three Haspra's encounters with the identical dramatic text, she is documenting internal advancing of the director's view on the classical drama, and is also investigating the social conditions which made Haspra reacted by changing of poetics.
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Content available remote HASPRA'S PREPARATIONS ON HIS NITRA PERIOD AND ITS DURATION
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A former dramaturgist of the Slovak National Theatre drama and a workmate of Pavol Haspra deals with a professional beginning of the director in a county theatre in Nitra, where after finishing the university study at the Fine Arts University in Bratislava, he acceded to work. Being a living witness of accessing of the first generation, which was educated as the graduated, he brings his attention to the problems that were then waiting for them, after they had come to practice. In his excursion into Haspra seven years' Nitra period, A. Kret concludes: Nitra period of a director Pavol Haspra confirmed the former prognoses on his future ways: he was a talented artist with an extraordinary planimetric and stereomatric fantasy, with an inclination to a slightly stylised reflection of the world.
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Content available remote REMINISCENCE
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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.
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Content available remote MUSICALITY OF HASPRA'S 'POKUS O LIETANIE' (AN ATTEMPT TO FLY)
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An outstanding Slovak musicologist and opera critic Miloslav Blahynka deals originally with studying musicality of Haspra's staging in Radickov's 'Pokus o lietanie' (An Attempt to Fly). He observes that in Radickov's staging 'Pokus o lietanie' (An Attempt to Fly) (the Slovak National Theatre 1980) the director Pavol Haspra was trying to draft an artistic function of the respective characters on the basis of their resemblance with voices of the multi-vocal musical composition. In doing so, he connects the musical principles with the compositional structure of the staging and through them strengthens not just the internal order of the staging, but signals also a more striking inclination to the artistic sensualism.
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Content available remote PAVOL HASPRA - ON ONE EPISODE - A VERY LONG SERIAL
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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).
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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 PAVOL HASPRA AS A DIRECTOR OF DUSAN KOVACEVIC PLAYS
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Pavol Haspra occupies a prominent place in the overview of the Slovak admirers of Kovacevic's dramatics - he approached this author three times and all three encounters were realized at the Slovak National Theatre scene in Bratislava: just three years after 'Zberné stredisko' (The Gathering place) had been first performed in Belgrade, Haspra introduced this author also to the Slovak cultural community. In 1992 when the territory of former Yougoslavia was raging with a blood war conflict, and Kovacevic was in a position of a dissident wandering between Budapest and Belgrade, Haspra rehearsed his 'Spalena vecera' (Burnt Dinner). Like a silent testament and a smiling farewell wave purpotted the last encounter of these two creators in the project 'Doktor Suster' (Doctor Schuster) from 2002. Three of Haspra´s stagings are analyzed by the director and aesthetitian Michal Babiak.
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Content available remote PALO HASPRA - ALSO 'MY' DIRECTOR
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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'.
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Content available remote HASPRA'S SELF-PROJECTION IN THE FEMALE STAGE
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The veteran dramatic adviser of the Slovak National Theatre drama and an associate of the director Peter Haspra contemplates in his study on Haspra's perception of a female element in theatrical art. Using the example of his private relation to two prominent Slovak actresses, Viera Strnisková and Sona Valentová, and subsequently through theatre characters Haspra had given to these actresses in his stagings, the author studies inner emotional dimension of these plays. He concludes that Haspra was the type of a director who perceived the dramatic situation emotionally through his 'heart' and only then was looking for rational ways and possibilities how to make them into a peculiar and distinctive form. The author illustrates the method used by Pavol Haspra on various examples of stagings, and is generalizing, that it is mainly spontaneity in relation to a dramatic text and emotional dimensions which often remained concealed from others, that represent typical features of Haspra's position of a dramatic advisor and director.
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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 IN BETWEEN INTENSIVE AND EXTENSIVE
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An author in his contribution observes that Arthur Miller's stagings were performed in Slovakia each time when a new author's text appeared, and subsequently was produced in the various Slovak professional theatres. Miller's play 'Po pade' (1964) ( After the Fall ) was performed in Slovakia as the European opening. For P. Haspra, a dramatic definition of the new American drama was convenient. A young theatrical critic and historian M. Timko is dealing in detail with two Haspra's rehearsals of the play 'Cena' (The Price). The impact of Haspra's first staging of Miller's 'Cena' (The Price) was very heuristic and inspirative in the Slovak theatrical art context, extending the scale of histrionic mouldable devices of all actors who participated in performing. When confronting the first staging of 'Cena' (the Price), the second one seemed as numb and deaf, incomplete, building on extensiveness, outerness, lacking own substance - the contents. The director in the second staging waived of analyticism, embedding for the extensive outerior devices.
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Content available remote PAVOL HASPRA AND HIS THEATRE OF PASSIONS AND EMOTIONS
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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.
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Content available remote RETURN OF PETER KARVAS DIRECTED BY PAVOL HASPRA
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A few days before Christmas in 1969 the opening of Karvas's play 'Abslolutny zakaz' (The Absolute Prohibition) took place at 'Mala scena' (The Small Stage) of the Slovak National Theatre. Short after this opening, one of the most prominent Slovak dramatist had become the one to whom an absolute prohibition applied very personally. Karvas even after having been expelled from the theatre did not stop writing. From that period comes also the detective play 'Sukromna oslava' (The Private Party), which was the play he had come back to the theatre with, after the lapse of almost twenty-two years. The theatrical critic and theoretist Anrej Matasik states that Haspra, being an experienced practician, must have been aware after first reading that 'Sukromna oslava' (The Private Party) was not the kind of a play to show off the director's ability to create a theatrical magic and thus impressing the audience by a geyser of the fancies. Despite that, he as a director sensed, that it was his moral responsibility - to be present when unjustice commited at undoubtedly the most significant playwright of his generation, was eventually redressed. He was proud to have been at Karvas's returning back.
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The production of the play by Bulgarian playwright Yordan Radichkov An Attempt at Flying (premiered on 22 March 1980 at the Pavol Orzságh Hviezdoslav Theatre) is one of the most successful plays in the history of Slovak National Theatre Drama. The text-metaphor of the old age longing of mankind to fly and to recognize the unrecognizable, even for just a moment, offers on the axis of "magical realism" or "grotesque realism", in the words of the author, a humanistic picture of life and ideas in which the characters live their everyday life. They start a magical fantasy game and express many truths of the life. This article draws attention to the production of director Pavol Haspra through analysis of the play's text, the production script and the TV recording of one of the last stage performances. Altogether over six years (from March 1980 to June 1987), 148 performances took place, both domestic and Czech critics writing about the extraordinary acting of all the participants. One cannot omit the significance and theatrical contribution of Vladimir Suchánek's scenography vision with several symbolic and metaphorical dimensions (a hay cart hanging in the air, through which the villagers, who longed for just a moment of freedom, fulfilled their dreams).
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This year, Slovak National Theatre celebrated its 90th anniversary. A few of those active here in the previous years or those who are employed here recently spent all their creative life as a part of this institution. One of those was the scene designer Vladimir Suchanek (1934), engaged immediately after the graduation. Over the forty years he created dozens of scenic compositions and influenced the artistic views on art in the National Theatre, insights into his own aesthetic aims and objectives of this theatre. At the same time, however, he stood in the shadow of his mentor and 'superior', chief of creative arts section and theatre workshops - Ladislav Vychodil. And even the international success and awards at the Prague Quadrennial did not change this situation. Vladimir Suchanek worked in tandem with the director Pavol Haspra. Genre palette of his scenic works was done predominantly on the request. Haspra was especially in favour of heartbreaking stories and full blooded characters. He believed, and it seems that he had found the key to unlock a genre of tragic farce as showed his original adaptations of King John (Dürrenmatt, 1970), The Magnificent Cuckold (Crommelynck, 1972), An Attempt to Fly (Radickov, 1980) Pigeons and Sulek ( Podhradsky, 1981). The director and the designer shared a common understanding of artistic shortcuts and combinations of 'quasi' genre attributes, symbols, visualizations, which often tended to gain almost a naively childish form. At least in the 'A Flying Cart' or 'Calendar of Life and Death' (both of these plays) was Suchanek not just 'a set designer', but together with Haspra also a co-director. The author, who closely cooperated for decades as a literary advisor with Vladimir Suchanek, gives an account of a remarkable personality of Slovak scene design in the second half of the 20th century.
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