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PODOBA A FUNKCIE SÚČASNEJ SLOVENSKEJ DIVADELNEJ DRAMATURGIE PO ROKU 2000: PREMOSŤOVANIE ROKOV DEVÄŤDESIATYCH

100%

Knopová E.

Slovenské divadlo (Slovak Theatre)

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2013

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tom 61

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nr 3

206 - 218

EN

Since the 1990s Slovak theatre has been affected by several phenomena: the changing attitude of the public to theatrical art, who seems to be losing interest in this art form, the degradation of the systematic, conceptual, artistic and forming function of the dramaturge, and the loss of an in-house dramaturge or director who would be consistent in performing this function. Theatrical space has been filled with freelance artists wandering from theatre to theatre, offering attractive productions or adopting them on the impulse of theatre managements. We witness the strengthening of the powers of directors and art directors who often succumb to commercial and operational pressures, but also their personal tastes and convictions. Secondly, we witness the continuing trend of ‘directorial theatre.’ The individual theatres still prefer working on projects, and therefore, the repertory depends on the offer of guest directors, who bring their own dramaturges to the theatres, sometimes not being familiar with the wider context or lacking the ambition to work with the theatre company and the audience in the long term. We also witness a disruption in cooperation between a theatre’s dramaturge and translators, authors, visual artists and so on. Only few dramaturges have their own workshops that enable them to have a systematic and long-lasting cooperation, for example, with authors writing new plays or directors preparing new productions.

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SCHÉMA KONTRA IMAGINATÍVNOSŤ – DVA NOETICKÉ PRINCÍPY NORMALIZAČNÉHO DIVADLA

100%

Maťašík A.

Slovenské divadlo (Slovak Theatre)

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2012

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tom 60

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nr 2

142 - 149

EN

The author deals with the development of Slovak professional theatre in the period before and after the occupation of the former Czechoslovakia. He highlights the situation in dramaturgy, which after a period of relative freedom and openness to influences from other cultures fell after 1970 under the pressure from dogmatists, demanding re-isolation of Slovak art from parallel processes in Europe and worldwide. The author shows how prominent personalities of Slovak theatre as well as the younger artists reacted to the pressure of political normalisation.

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DRAMATURGICKO-INSCENAČNÝ PROFIL SÚČASNÉHO SLOVENSKÉHO OPERNÉHO DIVADLA

100%

Mojžišová M.

Slovenské divadlo (Slovak Theatre)

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2013

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tom 61

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nr 3

219 – 225

EN

This paper deals with the dramaturgical and staging profile of the three Slovak opera theatres – The Opera of the Slovak National Theatre, the State Opera in Banská Bystrica and the Opera of the State Theatre in Košice – in the period of 1990 – 2013. It was already in the early stages of the building of a new social system that Slovak opera theatres discovered the need for profitability of their production. Especially the theatre in Košice, but also the one in Bratislava, therefore gave preference to the repertory that had the potential to become popular with their audiences and to neutral production poetics creating the illusion of reality. On the other hand, Banská Bystrica chose a different way, that of dramaturgical exclusivity and innovativeness, which secured it the reputation of the most ambitious Slovak opera theatre. The first decade of the new millennium in Bratislava was marked by the effort to achieve dramaturgical and staging diversity and the ambition to get integrated into the Central European context. However, beginning with Sylvia Hroncová holding the post of the general director, the theatre went through an internal crisis caused by the frequent turnover of opera directors. After years of searching and subsequent stabilization in the spirit of conservative aesthetical and dramaturgical preferences embodied in the personality of Peter Dvorský, Košice appears to have been experiencing a turn to more ambitious dramaturgy in the last two seasons under the direction of Karol Kevický as the art director and Linda Keprtová as the chief dramaturge.

4

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

100%

Ballay M.

Slovenské divadlo (Slovak Theatre)

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2014

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tom 62

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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.

5

ON THE DRAMATURGY OF MARTINU'S OPERAS (K problematike dramaturgie opier Martinu)

100%

Blahynka M.

Slovenské divadlo (Slovak Theatre)

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2009

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tom 57

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nr 2-3

134-143

EN

It is well known that Bohuslav Martinu never solved in two operas the same dramaturgic issue. Each opera has a new dramaturgic form, and each time, the quality of a libretto and the requirements of a medium via which the opera was transmitted were captured differently. Martinu was in constant quest of parallels and contrasts between the various options of style plurality of his music and the plurality of the forms of dramaturgic solutions of the 20th century opera. He was able to garner ingenious dramaturgic solutions from these parallels, which have retained their attractiveness for both the music theatre and contemporary opera.

6

IMPROVIZÁCIA, DRAMATURGIA, SPOMIENKA: VPLY DIVADELNEJ SCÉNY NA FILMOVÉ HERECKÉ VÝKONY V SÚČASNOM POĽSKOM FILME

88%

Katafiasz O.

Slovenské divadlo (Slovak Theatre)

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2015

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tom 63

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nr 1

40 - 47

EN

The author examines the influence of stage acting on movie acting in contemporary Polish cinema, citing the example of three movies: Małgośka Szumowska’s 33 sceny z życia (2008) and W imię... (2013), and Władysław Pasikowski’s Pokłosie (2012). She argues that the experience gained in constructing the characters in the performances directed by Krystian Lupa and Krzysztof Warlikowski played an essential role in conceiving the corresponding movie characters. In addition, the model of work with actors introduced by these two directors has had a very significant effect on stage acting as well as movie acting concepts in Poland. The author draws the reader’s attention not only to Małgorzata Hajewska-Krzysztofik, Andrzej Chyra, Mateusz Kościukiewicz and Maciej Stuhr’s parts, but also to the film dramaturgy which also displays the influence of theatre narrative structures.

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STEREOTYPY V ZOBRAZOVANÍ MATKY V TELEVÍZNYCH SERIÁLOCH Z HĽADISKA DRAMATURGIE

75%

Belková Z.

Motus in verbo: časopis mladej vedeckej generácie

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2014

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tom 3

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nr 2

24 – 39

EN

The study is based on the observation that when portraying the character of mother in TV series, there is the repeated use of specific elements and attributes that create the character. By analysing thirty series that involve the theme of family, it is trying to define several groups of characteristics that make up the few repeated models when portraying a mother. It defines these models in terms of dramaturgy, therefore in the way in which they should appear to television viewers. It also points out that the same model of portrayal can be found in different genre contexts.