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2 Slovenské divadlo (Slovak Theatre)

2 Knopová E.

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THEATRE IN THE CONTEXT OF POVERTY, POVERTY IN THE CONTEXT OF THEATRE. THE ISSUE OF POVERTY AND SOCIAL EXCLUSION DEMONSTRATED ON PSOTA [POVERTY], PRODUCTION OF PÔTOŇ THEATRE

100%

Knopová E.

Slovenské divadlo (Slovak Theatre)

2016

tom 64

nr 3

260 – 280

Pôtoň Theatre started out as an amateur ensemble, but over time, it has evolved into an independent professional theatre. Right from the outset, it has been operating in Levice region, in a nationally and denominationally mixed territory, rich in turning points in history and also in constant social changes which have had a profound impact upon the poetics of its theatre professionals and on its crucial themes. The ramifications of various reprisal measures (for instance, the so-called Beneš decrees) and the 20th century transformation processes (new stratification of society and a marked weakening of the farming life or centrally managed industrial life in the region after 1989) have dramatically and permanently changed the fates of the inhabitations of the region and their ordinary lives. Documentary-oriented form of the theatre with a distinct social message which is shaped in the process of own field research, has become a unique method of production of Pôtoň Theatre largely thanks to the environment, in which it is based.

ETNICKÉ A SOCIÁLNE PREMENY MIKROREGIÓNU TEKOVA ZACHYTENÉ V TVORBE DIVADLA PÔTOŇ

86%

Knopová E.

Slovenské divadlo (Slovak Theatre)

2015

tom 63

nr 2

81 - 99

This study briefly outlines the predominantly authorial production of the Pôtoň Theatre. It focuses especially on the performance Terra Granus, which represents the beginning of the theatre’s orientation to the so called theatre of research, besides others. Terra Granus artistically renders the process of repatriation and ethnic and social transformations in the Levice region. It is set in a particular locality, Jur nad Hronom and the former village of Mochovce, and it deals with their inhabitants. Drawing on the personal stories of narrators, who were respondents in a field research conducted by the theatre, and the actors themselves, the authors created a mosaic on the theme of home, family, tradition, attachment to a place and the ability to adapt to new changed conditions in a new environment. The concept of the performance gradually diverts from the essentialist perception of identity and home and leans toward a constructivist approach to them in which identity and home as an individual’s and group’s original relationship to a geographic and social space are not bound only to a fixed territory (geographically and historically delineated or culturally homogeneous). On the contrary, they are presented as an individual’s inner relationship to a “fluid place and social environment” through his social imagination or sense of belonging to a whole system of dynamic relations.