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DIVADELNÝ TEXT A JEHO HLASY. ÚVAHA O NIEKTORÝCH ASPEKTOCH VZŤAHU MEDZI DIVADELNÝM TEXTOM A JEHO INSCENÁCIOU

100%

Michalovič P.

Slovenské divadlo (Slovak Theatre)

2022

tom 70

nr 4

317 - 330

This study deals with certain aspects of the relationship between dramatic text and its staging. The dramatic text itself cannot be viewed as a kind of supra individual set of instructions left by the author in a textual form to those who decide to carry out staging and performances based on them. This is partly because the very form of the dramatic text changes, for example when a manuscript is transcribed, to a form that corresponds to the actually valid conventions for the updating transcription of a language. The purpose of the transcription is to update the original language of the dramatic text to make it comprehensible and acceptable for another audience and to enable it to function even as an autonomous literary work. Although the transcription may change the original text to the minimum, even these minimal interventions lead to a change in the essence of the dramatic text. Another factor of change is the transfer of the written text into speech, while a significant role in this transfer is played by intonation, which forms the focus of the second part of this study.

ÉDOUARD MANET A JEHO OLYMPIA

100%

Michalovič P.

ARS

2023

tom 56

nr 1

22-31

The paper entitled Édouard Manet and his Olympia attempts to justify why this painting can be considered one of the founding paintings of modernism in painting. On the one hand, Manet adheres to some of the basic conventions applicable to the genre of the “nude,” as evidenced by the inter-iconic reference to Titian’s painting Venus of Urbino. On the other hand, he partly departs from these conventions and partly enters into open conflict. The image of Olympia does not represent a divine, ideal beauty but a woman’s body, even the body of a prostitute. Manet attempts to represent with the painting what is symptomatic of the present and what is indexical of this present. The painting of Olympia has sparked controversy, sparked by its subject matter and artistic articulation. The paper attempts to interpret this controversy’s thematic and formal causes.

NEPOKOJNÉ SRDCIA MODERNISTOV

100%

Michalovič P.

2009

tom 64

nr 5

420-428

The study deals with two types of artistic communication. The description of the first type is based on Ferdinand de Saussure's model of communication. This type presupposes identical codes of the sender and the addressee, what makes decreasing of the information noise in the communication possible. On one hand, the scale of the information noise is diminished, but on the other hand, in this type of communication the view of the event is lost. The second type of communication is based on (a smaller or larger) disproportion between the sender and the addressee. The disproportion results in the growing information noise. In this case, the transmission of meanings is secondary, since the process of signification becomes the primary one. In the artistic creativity based on the second type of communication, the event always precedes the structure.