Wyniki wyszukiwania - Biblioteka Nauki

Nowa wersja platformy, zawierająca wyłącznie zasoby pełnotekstowe, jest już dostępna.
Przejdź na https://bibliotekanauki.pl

Ograniczanie wyników

2 Podmakova D.

Znaleziono wyników: 2

Liczba wyników na stronie

Wyniki wyszukiwania

Sortuj według:

Ogranicz wyniki do:

HOW DO WE READ, HOW DO WE TRANSFER THE DRAMA OR THE THEATRE TEXT ON THE STAGE? (Ako dnes citame, inscenujeme dramu, divadelny text?)

100%

Podmakova D.

World Literature Studies

2010

tom 2 (19)

nr 4

25-38

The paper deals with the transfer of the text to the stage. Dramatization of a prosaic work and language translation has an impact on the relations between characters, their nature (character). Modifications of structure of the work brings fundamental often even genre changes which in interaction with other stage elements (staging, playing, scenography and others) substantially influence the final image of the production. The authoress proves the ability of the theatre to speak of the present through word or image using concrete works/productions (Zensky zakon by Tajovsky, HOLLYROTH created from texts by J. Holly, Pustokvet by Vajansky, Tiso created from speeches by Jozef Tiso, and other stage works). The literary work constitutes the basis for the performance text, even though non-text, non-verbal production is created.

TWO WORLDS OF DOCUMENTARY THEATRE (Dva svety dokumentarneho divadla)

100%

Podmakova D.

Slovenské divadlo (Slovak Theatre)

2011

tom 59

nr 2

130-144

Based on examples of contemporary Slovak documentary theatre, the author characterizes three main groups of this type of theatre. The firs group is characterized by creating a dramatic Picture using the most authentic material, that might overlap with non-fiction literature (e.g. Tiso, written and directed by Rastislav Ballek, Arena Theatre, Bratislava, 2005, M.H.L. by Slava Daubnerova, 2010, Theatre P.A.T. Prievidza and Studio 12 Bratislava). The second group is characterized by creating a play/drama with the text based on the collected materials of documentary and historical nature, such as newspaper articles and interviews with living witnesses that support the storyline (e.g. Dr. Gustav Husak by Viliam Klimacek, Arena Theatre). The third group consists of texts that through the prism of individual and collective memory recall the past, with the accent on one's own view, or memories (e.g. The Velvet by Michal Ditte, Slovak Chamber Theatre, Martin, 2009, or Communism by Viliam Klimacek, Arena Theatre, 2010). A special chapter is Russian documentary theatre. The most famous projects combine specific event captured through interviews and documentary materials (e.g. interactive production One Hour and Eighteen (Minutes) by Elena Gremina, Teatr.doc. Moscow). Another group consists of productions that 'revise' history through the prism of present-day reality, using documentary materials (contemporary film footage, speeches, songs) in confrontation with the present-day reality (e.g, Pavlik is my God by Nina Belenitskaya, Joseph Beuys Theatre and Dokumentalny Dom 'The First Cinema' Moscow on Pavlik Morozovov).