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4 Slovenské divadlo (Slovak Theatre)

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SCÉNICKÝ DIZAJN A VIZUÁLNA KOMUNIKÁCIA. OD UMENIA K MARKETING

100%

Inštitorisová D.

Slovenské divadlo (Slovak Theatre)

2022

tom 70

nr 1

91 - 104

The study explores the issues of theoretical and pragmatic thinking about scenic design, its means and practices. From a geographical point of view, the topic is examined mainly in the Slovak-Czech context and from a temporal point of view it covers mainly the last two decades. The basis of the analysis of the understanding of the concept of scenic design is a reflection on theoretical and partly artistic contexts that deal with dramatic, primarily theatrical works. The chosen examples represent structuralist, formalist, semantic, semiotic, scenological, architectural, design and marketing interpretations of the issue. The study also highlights those aspects of the traditional understanding of scenic design as scenography that have led to a major reception turn in recent decades. Within it, its non-artistic qualities have also been pointed out. The study works with comparative, analytical, synthesising and intersemiotic methods.

VÍZIE ADOLPHE APPIU

88%

Mistrík M.

Slovenské divadlo (Slovak Theatre)

2015

tom 63

nr 4

315 - 327

Adolphe Appia made many contributions to modern theatre direction. He authored some, although not many, theatre productions, and wrote books and studies. He drew his own sketches of what the productions he would make would be like. He focused especially on Richard Wagner’s musical dramas and theoretically proposed how the so-called Wagnerian drama (a term that he used as an equivalent of Wagner’s Wort-Tondrama) should be staged. The present study recapitulates his fundamental ideas about music, stage space, painting, light, actors and directors. Later Appia collaborated with Émile Jaques-Dalcroze and synthesized his knowledge in the book entitled The Work of Living Art. It is best expressed by a quote from Friedrich Schiller: “When music reaches its most sublime effect, it becomes a shape in space.”

OPERNÍ SCÉNOGRAFIE JÁNA ZAVARSKÉHO

88%

Hrdinová R.

Slovenské divadlo (Slovak Theatre)

2017

tom 65

nr 1

32 – 48

The present study aims to describe the work that Ján Zavarský, one of the most prominent contemporary Slovak scenographers, has done for musical theatre, mainly opera. The author draws on her years of experience as an audience member, production recordings, photographs, scene designs, and other documentation. Her study is the first attempt at mapping the language of expression that Zavarský has created in two decades, especially in cooperation with the directors Martin Otava and Karla Štaubertová. First, the author deals with the process of creation of a scenographic proposal in dialogue with a director, which gives rise to a scenographic and directorial concept of a production. It then proceeds to identifying the characteristic features of Zavarský’s approach to opera scenography, which include the architectural concept of the scene, simplicity of expression, formal and colour stylization, and the connection between scenography and the movement of characters on the stage. The study includes a list of Zavarský’s scenographies and photographs documenting the individual features of his work for musical theatre in approximately ten productions.

RENESANČNÉ MOTÍVY V SHAKESPEAROVSKÝCH SCÉNOGRAFIÁCH JOZEFA CILLERA

88%

Inštitorisová D.

Slovenské divadlo (Slovak Theatre)

2017

tom 65

nr 1

22 – 31

Employing a comparative method, the present study explores the Renaissance expression of Jozef Ciller’s Shakespearean scenographies. Based on an analysis of preserved archival material (scenographic proposals, photographs from productions, video recordings, reviews, etc.) and personal communication with Jozef Ciller, the author examines how he transposed general features of European Renaissance (visual arts, architecture) into individual scenographic solutions. The author’s analysis also aims to identify how Ciller worked with the architecture and scenography of Elizabethan theatre Renaissance and observe his work with Renaissance elements depending on whether a scenography was meant for indoors or outdoors. The author concludes that Jozef Ciller employs Renaissance elements as motifs to preserve the awareness of man’s Renaissance spirit and greatness.