Wyniki wyszukiwania - Biblioteka Nauki

1

ROMANTIC HERO'S TRAGIC MASK IN 'THE LEGION' BY STANISLAW WYSPIANSKI

100%

Brzozowska S.

Przegląd Humanistyczny

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2005

|

tom 49

|

nr 6(393)

91-98

EN

The article deals with the issue of contamination of romanticism and ancient motives in 'The Legion' by Stanislaw Wyspianski. In the drama Mickiewicz's romantic myth appears against the background of the Ancient Rome, associating the ancient use of metaphors with romantic visionary style. Particularly exposed theatrical character of space suits the creation of the main character, apparently stylized for the Mickiewiczian hero. The hero puts on masks of both Christ and Brutus, thus confirming the tragic situation of a man bound in history and social obligations. Wyspianski's Rome is the synthesis of the theatre of the world. Exaggerated mystification in 'The Legion' - an apparent game - is a desperate attempt to communicate between the modernist sender and the recipient.

2

JAVISKOVÁ REČ V KONTEXTE VÝRAZOVÝCH PROSTRIEDKOV NA VÝSTAVBU JAVISKOVÉHO TVARU

100%

Findra J.

Slovenské divadlo (Slovak Theatre)

|

2014

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tom 62

|

nr 1

69 - 80

EN

The study briefly analyses the present views on the staging speech and redefines its system-functional basis. As the means of expression, the staging speech participates in the transformation of the dramatic text into the staging form. Its components and elements are classified and characterized with regards to such application. The author accepts „classical“ opinion, stating that the essential existential base of the staging speech is a speech technique, proper handling with the breathing, clear articulation, literary pronunciation of the sounds and the speech flow in accordance with a codified norm. Regarding system-functional structure, the verbal-intonation means with their mainly the functional potential are of no less importance. On the principle of contrast, these existential components and elements are used as the means of exactness, understandability and explicitness of the staging character´s speech, while at the same time identify the character as a human type by means of his/her idiolect as well as matter-of-factness within tension – aesthetics, objectivity – subjectivity, notionality – emotionality/expressivity, they create differentiating stylistic contexts. While implementing these functions, the verbal means are tied up with the non-verbal ones.

3

K NIEKTORÝM UMELECKÝM A MIMOUMELECKÝM DÔVODOM PREJAVOV FENOMÉNU GENERAČNOSTI V SLOVENSKOM DIVADLE 2. POLOVICE 20. STOROČIA

80%

Maťašík A.

Slovenské divadlo (Slovak Theatre)

|

2013

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tom 61

|

nr 1

15 – 35

EN

The author analyses development of the Slovak professional theatre after World War II from the perspective of emerging generationally related art teams of the theatre makers. He notes that generational manifestations have always been conditioned by social situation because the basic attributes of this concept are the uniformity of opinion and the ability to strongly articulate civic and artistic views in controversy and confrontation with the prevailing social atmosphere. The sixties brought along a release of social tension and at this period quite a number of university-trained young theatre artists active in theatres were stepping up against a strong group of older artists, who after years of schematism showed remarkable vitality and were able to absorb many elements of modern theatre. The first full-valued generational theatre was the theatre company Divadlo na korze. In the seventies, a tendency towards a generational theatre was to be found especially in theatres in Trnava, Nitra and Martin, but in all cases these were repertory theatres with staging production varying from generational proclamations of "otherness" to mainstream pieces. Generationally clearly defined theatre was given the opportunity to develop only after social upheaval in 1989.

4

OF DEPARTURE IN CONTEMPORARY THEATRE STUDIES, THE FIRST STEP IN QUEST OF SLOVAK ECO-DRAMATURGY

80%

Juráni M.

Slovenské divadlo (Slovak Theatre)

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2019

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tom 67

|

nr 3

224 - 239

EN

The paper focuses on the mapping out of the current eco-critical discourse in drama and theatre. The theoretical approach examines models, productions, and various forms of performance with regard to the reflection on the impact of human activity on the environment. Current approaches make it possible. Inter alia, to give prominence to works dealing with the relationship between man and his natural environment which, until recently, have been overlook. There are various methods to analyse a work through ecological narrative, yet, there are simple tools that facilitate this work. Among these tools is the questionnaire of the American theatrologist Theresa J. May entitled Some Green Questions to Ask a Play. This theoretical tool was employed in the analysis of the play Margaret zo zámku [Margaret from the Castle] by the Slovak playwright Štefan Králik. One of his last plays, which have not resonated particularly well with the critique, seems to be a key contribution to the Slovak so-called eco-dramaturgy. At the same time, the study raises the question of the perception of ecologically committed plays originating in the Eastern Bloc countries and burdened with the ideology of their time. This is a specific situation that the eco-critically oriented researchers in Western countries have not been confronted with, and at the same time, it poses a challenge to the whole Eastern ecocriticism.

5

“JUSTE LA FIN DU MONDE”: UN CASO STUDIO DI TRADUZIONE INTERSEMIOTICA

80%

Bivona A.

Motus in verbo: časopis mladej vedeckej generácie

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2019

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tom 8

|

nr 1

76 – 87

EN

This work aims to look at certain aspects involved in the translation process, from a linguistic as well as an intercultural and inter-semiotic point of view. Starting from the inter-semiotic translation concept theorized by Roman Jakobson, we will analyse the film adaptation of a pièce, written in 1990 by Jean-Luc Lagarce and filmed in 2016 by Xavier Dolan, in order to highlight the process of re-semantization and multiplication of meaning involved in the transition from the page to the screen. After some theoretical information, through a semiotic analysis and a continuous comparison between written and visual text, we will try to highlight some of the film adaptation’s mechanisms with a particular focus on thematic and figurative isotopies and on the filmmaker’s plastic and stylistic choices.

6

VÝRAZOVÉ TENDENCIE SÚČASNÉHO POULIČNÉHO DIVADLA

80%

Ballay M.

Slovenské divadlo (Slovak Theatre)

|

2012

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tom 60

|

nr 2

173 – 190

EN

The paper is a brief prolegomena to an extensive research of the phenomenon of street theatre. He discloses the strategies for mapping the present street theatre culture with regard to the currently most prevailing manifestations in contemporary Slovakia. He reflects the particular expressive tendencies within contemporary street theatre and strongly distinguishes its factual specifications. In the conclusion, the author presents more explicit concept of how to determine the nature of this type of theatre and outlines relevant, possible typology. At the same time, he also points out the individual functions of the present street theatre in Slovakia. Poetics of the contemporary street theatre in the domestic context quite differs from the street production made for a sole purpose. In the current staging practice, street theatre can be in Slovakia many things, which is often a major problem in the final mapping and understanding of the issue. Sometimes any outdoor open-air presentation bears the label of street theatre, although it completely lacks the attributes ascribed to this type of theatre. Street theatre in Slovakia has many variants and therefore is mostly mixed with non-theatrical theatricality, with show and other street attractions that the very street theatricality not just overlaps but, unfortunately, sometimes completely replace. The presence of such street theatre is actually in Slovak conditions rare, unique, nourished only by a few initiatives, theatre companies and events. As a result, it creates a coherent colour of street 'spectacle', which is sometimes seen on the surface as a revitalized, re-recognized theatrical form developed in the sporadic but constant spirit. "Open air theatre" or "outdoor theatre" has its specific conditions for the existence on the cultural map of theatre, its right to exist in the context of domestic theatrical culture. Similarly, it follows fixed, unwritten laws, language, aesthetics and even the original expressive tendencies, which clearly enrich and even inspire the overall culture of theatre.

7

ESTETIKA V DIVADLE

80%

Sošková J.

ESPES

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2013

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tom 2

|

nr 2

1 – 8

EN

The author deals with specific conditions for possible aesthetic experience and aesthetic perception in the conditions of theatre artwork performance. Opinions of J. Mukarovsky on avant-garde theatre, opinions of J.Derrida on Artaud’s theatre of cruelty and opinions of N. Goodman on art language including theatre art are the background of her thoughts.

8

THE NEO-BAROQUE THEATRE OF PROSE IN LATE SHEVCHUK

80%

Sobol V.

Slavia Orientalis

|

2005

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tom 54

|

nr 4

561-570

EN

The article analyses modern novels by Valeri Shevchuk 'Bal-maskarad iz sobakami', 'Kordebalet' and 'Sfera'. The authoress discusses the milestones of the 'Teatr prozi' cycle, examining in detail the fragments following neo-Baroque poetics.

9

IRREPLACEABLE ROLE OF ACTOR'S UNIQUENESS: STANISLAVSKI'S WORK MADE ACTING SEARCH FOR ITS SOUL (Nezastupitelna role herecke jedinecnosti: vystoupenim Stanislavskeho se herectvi vydalo hledat svou dusi)

80%

Vinar J.

Slovenské divadlo (Slovak Theatre)

|

2011

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tom 59

|

nr 1

3-13

EN

The search for intimacy is taken from the concept of how emotive a role is as the core experience. The range of emotions does not come across as a jealousy, anger, love an sich, but more as a changes in mood, which opens up a world of unique deep-rooted situations and a world of on going discourse as a whole. The actor is experiencing his artistic personality and character in creative tension. This fluctuation in changing moods corresponds with the varying bonds of actors - a figure /character and its formation. These findings add to its personification through using their artistic experience and Jouvet reflection. The actor and his character conduct a dialogue of multiple personalities. All of this is the basis of a spiritual tradition in what actors create and their training. History is becoming a 'well-trained actor' prepared by schools of clear cut indoctrination. The Present is a creative acting, going beyond the boundaries of mere current knowledge.

10

RYTMICKÉ CÍTENIE V SCÉNICKOM DIELE. ESTETICKÁ A MIMOESTETICKÁ FUNKCIA SCÉNICKÉHO UMENIA VYCHÁDZAJÚCA Z RITUÁLNEJ PODSTATY DIVADLA A MYTOLOGICKÝCH ZDROJOV DRÁMY NA POČIATKU 20. STOROČIA

80%

Kovalčíková P.

Slovenské divadlo (Slovak Theatre)

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2019

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tom 67

|

nr 2

129 – 144

EN

The study focuses on the penetration of ritual elements into contemporary performance art. Reflection of the discussed topics focuses on the period of modernism and postmodernism in the Western cultural context, while the documentation of phenomena is based primarily on the theatrical experiments of the creators of the first and second theatrical reforms.

11

PRAVDA COPIAUS A METÓDA COPEAUA

80%

Mistrík M.

Slovenské divadlo (Slovak Theatre)

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2014

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tom 62

|

nr 1

3 - 32

EN

In 1924, Jacques Copeau together with his actors and students moved from Paris to Burgundy. First he moved to Morteuil and a year later to Pernand - Vergelesses. After a few years of life dedicated to writing, directing and rehearsals, he was gradually losing interest in theatre. The young members of his troupe, performing since 1925 under the name Copiaus, were left to cope with the situation on their own. Relations with Copeau went to pieces. The troupe began to work more independently from 1927. They rehearsed two performances – The Dance of the City and the Fields (La Danse de la ville et des champs) in 1928 and Youth and Spider or the Apparent Tragedy (Les Jeunes Gens et l' araignée ou la Tragedy Imaginaire) in 1929. In both plays they developed the original idea introduced by Copeau – an attempt to create a modern version of the Italian commedia dell'arte, which they called simply comédie nouvelle. For this purpose, the troupe created new masks - Mr. César (Jean Dasté), Oscar Knie (Michel Saint - Denis), Gilles (Jean Villard) and other. Based on archival documents, scripts, notes of the authors, newspaper criticisms and preserved iconography, the study aims to reconstruct the above mentioned plays.

12

BÁBKAR – BÁBKOHEREC – PERFORMER

80%

Jurkowski H.

Slovenské divadlo (Slovak Theatre)

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2016

|

tom 64

|

nr 1

93 – 98

EN

The author speaks about animated puppet being a part of the theatre art. The eminent drama writer and theatre philosophes have given it their thoughts and opinions: Samuel Foote, Heinrich von Kleis, Gordon Edward Craig. They considered being an important part of the theatre while animated by the puppeteers. The author enumerates various types of puppet-players: puppeteer nugget, puppeteer professional, educated in the theatre school. The last one ignores often importance of the puppet and he dismisses it by his own presence. The author proposes in his place another player that is puppeteer-performer, who is conscious of the creative energy existing in each material (puppet included) and is wishing to demonstrate this energy and to serve it.

13

OBRAZ TRANSFORMÁCIE DIVADELNEJ SIETE V SLOVENSKEJ REPUBLIKE

80%

Podmaková D.

Slovenské divadlo (Slovak Theatre)

|

2013

|

tom 61

|

nr 4

382 - 392

EN

The paper addresses a number of topics related to the theatre transformation in Slovakia. As early as the 1980s, at the time of the command economy, the objective of this theatrical experiment was to enhance the economic prudence of the teams of creative professionals and an efficient and effective management of allocated appropriations and performance-based remuneration. After 1989 and transition to a market economy, multi-source funding was also debated in culture. When attempts to merge drama ensembles and various cultural institutions into larger institutions were made, there cropped up a problem of the availability of competent managers who would be able to manage institutions of various missions and an issue of scarce funding. The State made it possible to start private theatres by various founders, however, it failed to stipulate the terms and conditions of multi-source funding in a systemic way. It, too, failed to introduce the possibility of multi-year grant projects (for instance, three or five-year grant projects, which are commonly implemented abroad). Indeed, the theatre is a privileged type of entertainment of a small part of the population, however, it facilitates personal growth and creativity and it is a component part of drama therapy. It has not abandoned memory effect stereotypes (the allocation of state grants to culture), it has failed to set a rating system to evaluate concrete theatrical productions and their impact upon the audiences, despite the fact that a new paradigm of the theatre function and perception was introduced as an outcome of the development of society and a change in the percipient target group.

14

Scena polska w Czeskim Cieszynie teatrem wspólnoty

80%

Pindór M.

Świat i Słowo

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2011

|

tom Świat i Słowo 2011, nr 1 (16)

|

nr Świat i Słowo 2012 nr 2 (17)

159-172

EN

The Polish Stage of Tĕšín Divadlo (Cieszyn Theatre) in Česki Tĕšín came into existence in August 1951. It is a professional theatre of a Polish autochthonous group cut off from its motherland due to the arbitrary-border principles. The theatre is the institution which, mainly through a language and repertoire, carries out the mission of supporting the national identity in the foreign country and in different living conditions. The concept of community on the Polish Stage evolves from the primal ethnic community and national community into the regional community (Silesian). The primal ethnic community is understood here as a sense of belonging to the Zaolzie group and culture that is based on the acceptance of the indigenous values typical for this ethnic society. It relates to the a sense of awareness of the particular identity and of belonging to a particular group. The national community is related to Polish culture and its trends coming from Poland. The regional community (Silesian) forms the plane where the social and cultural community of the whole Cieszyn Silesia – both Polish and Czech region – can be observed. The contemporary concept of community presented by the Polish Stage maintains its primal national character.

15

THE PRIMATOLOGY OF THE THEATRE? (Prymatologia teatru?)

80%

Staniewski W.

Konteksty - Polska Sztuka Ludowa

|

2008

|

tom 62

|

nr 1(280)

143-147

EN

According to the author sometimes we become hypnotised by a verbal construction. There is, for example, something seductive in the concept of the 'primatology of the theatre'. He finds himself attracted by this neologism, and the chance to make wider use of the term 'primatology', outside the established biological connotation. Traditionally, all problems connected with man are excluded from primatology, since they are the domains of anthropology. The criteria, however, remain blurred. Some primatologists claim that the anthropoidal species belong to the hominids. That which is primary, rudimentary and substantial in the articulation of man's ancestor testifies not only about the power of expression but also about the forms of the expression of the homo sapiens, such as laughter, which Dostoevsky declared is the most profound characterisation of the properties of the human being. Purportedly, certain animals are also capable of laughing. One could say that we are concerned with the 'simplicity formula' (cf. Hidden Territories), i. e. the behaviour and games that remain in the closest possible homeostasis with the natural environment. In the most recent issue of 'Proceedings of the National Academy of Sciences' (USA) American scientists propose the thesis that 'at the beginning there was the gesture and not the word'.

16

DRAMATURGIA NEZÁVISLÝCH KULTÚRNYCH CENTIER (STANICA ŽILINA-ZÁRIEČIE A CENTRUM NEZÁVISLEJ KULTÚRY ZÁHRADA N. O.)

80%

Ballay M.

Slovenské divadlo (Slovak Theatre)

|

2014

|

tom 62

|

nr 3

252 – 267

EN

This article deals with the two independent cultural centres in Slovakia – the Stanica Žilina–Záriečie (Žilina–Záriečie Station) cultural node and the Záhrada (Garden) independent cultural centre, a non-profit organization which is based in Banská Bystrica. Particular attention is paid to certain dramaturgical tendencies, functions and associations made with a particular spatial location as well as the cultural centres’ influence on the specific regional cultural climate and overall location. The article maps the background to particular activities in the development of theatre culture and covers the special arrangements put in place for the emergence and existence of individual works from a perspective asserting that the physical realization of particular residencies is of unequivocal benefit to the laboratory-like cultivation of the contemporary poetics of independent theatre and dance.

17

SLOVENSKÁ KLASICKÁ DRÁMA A RÉŽIA NA PRELOME TISÍCROČÍ

80%

Maťašík A.

Slovenské divadlo (Slovak Theatre)

|

2014

|

tom 62

|

nr 3

237 – 251

EN

This paper analyses the relationship of Slovak dramatic theatre to Slovak drama classics between 1989 and 1994. This paper analyses the issue by discussing the characteristics of the distinctive approaches adopted by notable figures in theatre production and examines the situation through “official” theatre companies. This is done for three key reasons: (a) at the turn of the millennium, the institutional foundations of Slovak theatre still functioned on the basis of inertia, and independent theatres and agencies and ad hoc groupings of theatre makers were still only being established; (b) national classics were practically absent from the season programmes of independent theatre companies until the mid-1990s because until then these companies had presented themselves as “authorial theatres” and as theatres focusing on contemporary works; (c) a number of decentralizing administrative and organizational changes were initiated in the mid-1990s which resulted in the creation of a new model of organizing professional theatre, meaning that developments after 1995 deserve separate attention. The assertion is made that in the analysed period there was an exceptional situation at the Jonáš Záborský Theatre in Prešov due to the productions of Ján Sládeček, which knew how to extract contemporary social messages from the older dramas (e.g. plays by Jozef Gregor Tajovský, Milo Urban and Ján Palárik). By contrast, national classics were not included in the majority of season programmes of professional Slovak theatre companies in the years immediately following the change in political regime.

18

A MUSICAL BEDNARIK

80%

Cavojsky L.

Slovenské divadlo (Slovak Theatre)

|

2005

|

tom 53

|

nr 1-2

3-21

EN

Originally actor and drama director Jozef Bednárik (1947), has been lately keenly involved in music theatre projects. Musicals follow his opera productions and currently, he cooperates with the New Stage Theatre in Bratislava, A. Bagar Theatre in Nitra and with several musical theatres in Prague. His creative endeavours result in a modern synthetic format of music theatre, collages of music, stage design and acting art and on the stage, he does not hesitate to apply the principle of film montage. His music theatre aspires to be current, with the striking power of television, the dynamism of videoclips, the glamour and attractiveness of fashion and rock and the intriguing nature of good films. Kitsch in his production has a concrete and justifiable purpose. However, live music is not a component part of the majority of his musicals.

19

DIVADELNÁ SCÉNOGRAFIA ARCHITEKTONICKÝCH OBJEKTOV

80%

Mazalán P.

Slovenské divadlo (Slovak Theatre)

|

2018

|

tom 66

|

nr 1

41 - 51

EN

Since the beginning of the 20th century theatre has developed a completely different form of expression tools. The development of architectural methods has reached the point where it is continually moving apart from its archetype to newer and newer intellectual encryption. The method of its creation and perception have been radicalised by means of new media to offer a greater extent of its own representation. Architecture in the context of our study will be represented by the scenography. Architecture will be explored in relation to a space and its inherent characteristics by means of heterotopy and synaesthesia. Space with its specific role becomes a sphere of imagination for the audience. The study does not consider the classical term of architecture as the building and scenography as a staging of decorative mise-en-scéne.

20

POSTSOVIETSKE DIVADELNÉ PARALELY

80%

Lindovská N.

Slovenské divadlo (Slovak Theatre)

|

2014

|

tom 62

|

nr 1

33 – 48

EN

The study is a comparative reflection on the development of performing arts in Russia and Slovakia at the turn of the millennium. Understanding the peripheries of post-Soviet transformation of Russian theatre deepens the knowledge of social and aesthetic contexts regarding the transformation of Slovak theatre at the turn of the 21st century. The disintegration of the Soviet Bloc in the late 80s and the early 90s of the 20th century changed the situation in the world and launched a major transformation in the post-communist countries. Along with the economic and political system, culture was changing also inevitably. Privileged status of Russian culture has become a thing of the past. In the following years, Slovakia has become the independent state with parliamentary democracy and market economy and joined the EU. Russia has undergone its own path of development. Despite a different orientation of the two countries at the turn of the millennium, both the Russian and Slovak theatre experienced in many ways analogous situation: the decline in social status of performing arts, opening to the world, the introduction of so-called new drama, transformation of directing and acting, etc. When approaching breakthrough processes in Russian theatre, the study is based on the author's personal knowledge of Russian theatre and on the publications written by Russian theatre critics Marina Davydova (End Theatrical Era) and Anna Vislova (Russian Theatre at the Turn of the Millenium