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3 Slovenské divadlo (Slovak Theatre)

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THE IMPACT OF 'NON-OPERA' DIRECTORS UPON THE SLOVAK OPERA AT THE TURN OF THE CENTURIES

100%

Unger P.

Slovenské divadlo (Slovak Theatre)

2008

tom 56

nr 3

341-344

Internationally, the differences between directors specializing in opera and directors active in other genres (drama, film, dance, and puppet theatre) have been removed. The author ponders over the existence of similar blending in Slovakia and to what extent would this enrich the national operatic life. He makes a statement that in the time period under survey the most distinct personality was that of the director Jozef Bednarik; however, his peculiar poetics has worn away and lost its innovative spirit. New elements, combining the opera with pantomime and puppet-play, have been introduced by Milan Sladek. Distinguished directors Roman Polak and Martin Huba are at a stage of experimenting with the use of drama means of expression in opera.

ROZPRÁVKA O ŠŤASTNOM KONCI. OPERNÁ PRVOTINA PETRA ZAGARA

100%

Oravec Ballánová V.

Slovenské divadlo (Slovak Theatre)

2022

tom 70

nr 2

158 – 172

This study deals with the fairy-tale opera, Rozprávka o šťastnom konci [A Tale of a Happy End] (2019), of the Slovak composer Peter Zagar, commissioned by the Slovak National Theatre in Bratislava. Although this is Zagar’s only opera so far, the composer has ample experience in dramatic composition, as he has composed music for dramatic and ballet/dance productions and soundtracks for movies. The study discusses not only the dramaturgical structure and the music of the opera, and the specificities of its performance, but also points out the pitfalls of opera production for children and the importance of musical-intellectual education.

BURLAS' 'COMA': 'LITTLE SCOPE - GREAT VOLUME'

100%

Benova M.

nr 1

52-57

Martin Burlas - 'Coma': minimal opera (scope, music, librettos - sung aphorisms) with a great value of expression. The character of a patient in his (inner) status of coma perceives virulence of the surrounding (outer) world. Who is the patient? The play on spectators brings an experience to every one - associations connected to spectators' experience. 'Coma' is an alternative: untraditional grasping of an opera genre in contrast to the classical conclusions. 'Coma' is postmodern: mosaic of an action- moody scenography, untraditional actor performance, film retrospective, verbal puns, comparisons with time and space full of the symbols and contrast meanings.