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2 Slovenské divadlo (Slovak Theatre)

2 2007

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ACTUALIZATION TENDENCIES IN STAGING CHEKHOV'S 'SEAGULL' IN SLOVAK PROFESSIONAL THEATRES

100%

Cibulkova K.

Slovenské divadlo (Slovak Theatre)

2007

tom 55

nr 3

404-419

The authoress is dealing with studying several variations of the performances of Chekhov's play 'Seagull' in the Slovak professional theatres. She is emphasizing the meaning of 'first - climbing' done by Milos Pietor in his staging in the theatre of Martin in 1963, and she is stressing that the director returned to this title two more times (in 1963 at 'Nova scena' (New Scene ) with excellent Magda Vasaryova as Nina Zarechna and in 1988 in 'Stúdio Novej sceny' (New Scene Study)) and each of his staging was different by its conception, corresponding to the social situation and situation of the Slovak spectator. Among staging that originated after 1990, the authoress of the study is praising as relatively most interesting the performance done by a dramaturgist of the theatre in Nitra S. Sprusansky who did not prepare the staging in one of the theatre halls of the Theatre of A. Bagar, but in surroundings of a stock of coulisses, as a story of people from the back stage. The second strongly accentuated topic of the staging was the issue of fame and success. The authoress is in this connection pointing at extraordinary well mastered acting of Eva Vecerova featuring Arkadinova.

ACTOR OPPORTUNITIES OF MARIA KRALOVICOVA WITH MILOS PIETOR

100%

Polak M.

Slovenské divadlo (Slovak Theatre)

2007

tom 55

nr 3

462-470

The author of a newly prepared monography of a jubilee actress of the Slovak National Theatre drama Maria Kralovicova, whose eightieth birthday in a full actor potential in her presence was commemorated by the Slovak theatrical public (born 7th June 1927) - how else, by the drama premiere in the Slovak National Theatre, is in a published chapter dealing with actress' cooperation with a director and actor Milos Pietor. Despite the fact it did not last long, for Kralovicova it meant a new source of actor and creative inspiration, helping her uncover new dimensions of her actor art. Milos Pietor became an internal director of the Slovak National Theatre Drama in 1978, even though he had performed several stagings with this troupe. In that period he had had an interesting artistic biography behind him and belonged to the most creative and inventive Slovak directors, who were opening new theatrical horizons of the Slovak theatrical art in this discipline. Milos Pietor possessed a well marked own dramaturgy, but also his way of leading actors was unique. Mainly his approach to model the actors in stagings was pointing at his own special handwriting stemming from psychology of a character and its real picturing. Undoubtedly, he was a dignified continuator of such personalities as Borodac, Jamnicky, Zachar or Budsky in a relatively short history of the Slovak theatre. The cooperation with Milos Pietor was definitely beneficial for Maria Kralovicova. Thanks to director's resolution, the new dimensions of actor art had been occuring in her acting in a greater extend - ranging from convincing psychological exploring, striking dramatic shape of the characters, moving towards abbreviation, stylization and hinting, to irony and grotesque. It was fruitful, with a result of ripe fruit of artistic actor creativity, representing the unforgettable characters that Maria Kralovicova had created under leadership of this director.