Wyniki wyszukiwania - Biblioteka Nauki

1

THE THREE SISTERS OF FOUR DIRECTORS

100%

Rohac T.

Slovenské divadlo (Slovak Theatre)

|

2008

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tom 56

|

nr 3

326-328

EN

Based on four productions of Chekhov's 'Tri sestry' (The Three Sisters, 1972, 1994, 2003, and 2008) the author contemplates the fate of the Prozor sisters while taking account of the time periods of the individual productions and of the poetics of four directors (Milos Pietor, Sona Ferancova, Svetozar Sprusansky, Roman Polak). Not only external theatrical signs but also the inner life of characters and the feelings of the audiences are put to use.

2

SLOVENSKÉ DIVADLO V PROSTREDÍ SPOLOČNOSTI – OD 80. ROKOV 20. STOROČIA PO DNEŠOK

80%

Podmaková D.

Slovenské divadlo (Slovak Theatre)

|

2011

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tom 59

|

nr 3

208 – 2017

EN

The paper provides a brief overview of the role of the theatre, its artistic and social functions during the indicated time period. It characterises the relationship between society and a theatre and against, and also the financial issues underlying this bond and the status of the theatre professionals. Through changed socio-political conditions after 1989, new opportunities have opened up to creative professionals who, at the same time, have lost their theme of a tacit revolt against the system and the metaphor as the major tool for naming “no-freedom“, shut-down state borders and for the non-existence of personal prospects. On the one hand, the open European space allows for exposure to new cultures, on the other hand, however, it is conducive to the unification of (self)-themes, of the role of an individual in the family and in society, to the grey mediocrity of quality, and to favouring form over content. Economic and, oftentimes, technocratic thinking would indirectly impact the value system of the theatre arts, its mission in the over-technologized world. The artistic functions of the theatre are bound to be defined and created by creative professionals (this holds provided that critique has a set of criteria applicable both within the theatre arts and vis-à-vis the society). The societal functions ought to be a component part of a knowledge-based society, with special concern for the cultural development of the society.

3

POSTMODERN THEATRICALITY IN CREATION OF VILIAM KLIMACEK

80%

Palenikova Z.

Slovenské divadlo (Slovak Theatre)

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2007

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tom 55

|

nr 4

658-675

EN

The authoress, a student of the Theatre Faculty of Academy of Fine Arts in Prague as a dramaturgist initiated the production of Klimacek's play 'Maria Sabina' with the drama students. Based on this practical experience and knowledge of the theatrical texts of the most performed Slovak author nowadays, she afterwards drafted her theoretical contemplation on his creation. She was documenting author's advancement from the occasional scripts for cabaret shows of an amateur troupe GunaGu, which he had co-founded, until the years of his professional work (in nineties he gave up his career to focus on his profession of a writer).

4

SCHÉMA KONTRA IMAGINATÍVNOSŤ – DVA NOETICKÉ PRINCÍPY NORMALIZAČNÉHO DIVADLA

80%

Maťašík A.

Slovenské divadlo (Slovak Theatre)

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2012

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tom 60

|

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.

5

REFLEXIA DIVADLA MARGINALIZOVANÝCH SKUPÍN OBYVATEĽSTVA V SLOVENSKEJ DIVADELNEJ KRITIKE A TEATROLÓGII NA PRÍKLADE DIVADLA BEZ DOMOVA

80%

Lindovská N.

Slovenské divadlo (Slovak Theatre)

|

2013

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tom 61

|

nr 3

309 - 318

EN

Using the example of Theatre Without Home which includes the homeless and the disabled, the author examines the approach of the Slovak theatre critics and theatre scholars to the theatre of marginalized groups. This type of theatre emerged in Slovakia in the 1990s. The phenomenon of homeless theatre appeared in the Slovak context at the beginning of the 21st century. Theatre Without Home was officially established in 2006 and is currently trying to become professional. It views itself as a community theatre that has high artistic ambitions connected with therapy and social integration. Lindovská analyses in detail the approach of theatre critics to assessing and interpreting the productions of Theatre Without Home. Given the little interest that critics have demonstrated in its theatrical production, the author states that the marginal position of marginalized groups in society reflected in the marginal position of their cultural and artistic activities. At the same time she points out that the production of the theatre of marginalized groups violates deep-rooted aesthetic and ideological norms, has an experimental character and impact on the development of theatrical thinking.

6

CASUISTRY OF DIE KLEINBÜRGERHOCHZEIT (A RESPECTABLE WEDDING) BY BERTOLT BRECHT IN SLOVAK THEATRE: A STRUGGLE FOR VALUES

80%

Knopová E.

Slovenské divadlo (Slovak Theatre)

|

2021

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tom 69

|

nr 3

229 – 247

EN

The study explores the one-act play Die Kleinbürgerhochzeit [A Respectable Wedding] by Bertolt Brecht and its productions in Slovak professional theatre. The authoress elaborates on expert reflection and viewers’ reception of key productions from the perspective of Brecht’s requirements of theatre, which should be entertaining and informative at the same time. The first staging of Die Kleinbürgerhochzeit under Ivan Krajíček’s direction in 1978 created the basic comparative and evaluative basis for future stage adaptations of the one-act play. The study deliberates the production sequence through a lens of casuistry: individual productions represent how the creative professionals communicated forms of appropriate and inappropriate behaviour and declining social morality. They moved from the critique of the petty bourgeois class to capturing an entire modern society in which values are absent. As in other European countries, Brecht became the author through whom the struggle for values was fought in Slovakia. It was the last performance of Die Kleinbürgerhochzeit (Slovenské národné divadlo – Slovak National Theatre, abbr. SND, 2013, directed by Diego de Brea) that provoked controversial social reactions and brought about an interesting shift in expert reflection – from the evaluation of the artwork, the interest of critics and creators shifted to the evaluation of the audience (lack of orientation in art and taste)

7

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

80%

Knopová E.

Slovenské divadlo (Slovak Theatre)

|

2013

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tom 61

|

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.

8

AKO V INŠTITÚCIÁCH VČERAJŠKA HOVORIŤ DNES O VÍZIÁCH ZAJTRAJŠKA?

80%

Maťašík A.

Slovenské divadlo (Slovak Theatre)

|

2013

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tom 61

|

nr 3

334 - 343

EN

In the introduction the author returns to the history and states that the Slovak National Theatre was established in 1920 as a part of the decision to expand the network of professional theatres that existed in the Czech lands after WWI to the east. Legislators decided to socialize all theatres (1948). The socialist state viewed theatre as a powerful ideological weapon. There was no television yet, but a theatre ensemble could get to the most remote villages and, according to those in power, spread progressive ideas through its productions. The social change in 1989 brought no ambition for radical change in the area of theatre. Theatres as allowance organizations always received the same funding as the year before irrespective of the artistic quality of their production. This might have been the reason why theatres were dissatisfied and why theatre-makers were at the forefront of the efforts for social change. Changes in the institutional system of Slovak professional theatre in the 1990s happened without any discussion about the basic issue of the relationship of theatres to a particular group of citizens who are interested in this public service and willing to support it financially. Besides a sociological survey conducted by the National Educational Centre for the National Theatre Centre in the late 1990s, there is no conclusive evidence that Slovak citizens and tax-payers need theatre in order to live a better and fuller life. In principle, the decisions on the existence or non-existence of a theatre should not be made by officials in Bratislava, who allocate the collected taxes, but these decisions should be made by citizens who either want or need a particular theatre to continue its existence or have other preferences. Professor Peter Karvaš always emphasized that the theatre is based on the fact that a live person plays the part of another live person in front of a live person in the auditorium. The state thus subsidizes clearly commercial theatrical projects, which do not need to be denounced, only more clearly labelled and viewed as business activity which will turn things like the popularity of actors and media legends to profit. This would result in a system of minimum three multi-ensemble theatres, one in the west, one in the east and one in Central Slovakia. These theatres should include opera, drama and ballet companies and have a clearly formulated artistic mission. This network of theatres could, of course, be supplemented by commercial theatres that could be operated as non-profit organizations or companies or run by a sole trader, albeit with the risk that they may fail.

9

ZUZANA KRONEROVÁ OR TRAGIC WITH A FACE AND SOUL OF A CLOWN?

80%

Bakosova-Hlavenkova Z.

Slovenské divadlo (Slovak Theatre)

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2008

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tom 56

|

nr 1

21-37

EN

The study is dedicated to a significant personality of the Slovak dramatic art, Zuzana Kronerova, who started in the Theatre for Children and Youth in Trnava /1974/. Here she cooperated mainly with a director Juraj Nvota and a dramaturgist Mirka Cibenkova. In 1970 she changed for the drama theatre Nová scéna (New scene) in Bratislava. In this phase under command of a director V. Strnisko all her expressive characters originate: Constancia in 'Amadeus' (1982), Mashenka in Ostrovsky 'Aj múdry schybi' (Wise Can Be Mistaken, Too) (1983), Varja in 'The Cherry Orchard' (1984) Maturina in 'Don Juan' (1986). After she had shortly left for The Slovak National Theatre - drama, where the offers placed were not satisfying her needs, she decided to radically solve the situation by accepting an engagement with the newly established theatre Astorka - Korzo '90. In a small chamber theatre she quickly adapted. To the most striking characters she pictured in the theatre Astorka up to these days belong her figurations of mother. At first it was a tough and unyielding despot Bernarda Alba from the famous Lorca's drama 'The House of Bernarda Alba' (1993), later it was a manipulative mother, full of inscrutability and ambivalence in a grotesque play named the same 'Mother' (1997) by Pitinsky, and finally Shirley in a monodrama 'Shirley Valentine' (2004). Kronerova was playing with verve also capricious lascivious playfully cynical ladies who open the space into such levels of scenical magic which omen always comic-melancholic dramas, like Ulita in Ostrovsky 'Forest', Frida from 'Tales from Vienna Wood', Erna from 'Kazimir and Karolina', Louise from the 'Cemetery of Elephants' or Klara from 'Klara's Relationships'.

10

PAVOL UHER - DIRECTOR, BOTAFOLOGIST

80%

Dzadikova L.

Slovenské divadlo (Slovak Theatre)

|

2007

|

tom 55

|

nr 4

638-657

EN

Pavol Uher was born on 4th November 1948 in Svit. His journey to theatre was leading through recitation, own literary creation, violin playing, and director recalls also a meaningful experience earned from visiting a circus performance. After school leaving examinations in Poprad he started studying marionette dramatic art at the Theatrical Faculty of Academy of Fine Arts in Prague. After a year he changed to study marionette stage direction and dramaturgy. He had finished study on 1971 and soon after became an internal director of the Regional Marionette Theatre in Banska Bystrica, later he started working in the State Marionette Theatre (SMT) in Bratislava. Even in his first stagings Uher indicated a wide range of his creativity. At the age of 33 in 1982 he emigrated to Germany. According to his own words, he had left his country not only due to political reasons, but also due to bad working conditions and also because of the fact that the theatre (SMT) was then headed by people who though having been professionally on a low level, had the power to decide what and how had to be done. The authoress of the study (a selection from the bachelor thesis work at the Theatrical Faculty of University of Fine Arts) is focusing at the reconstruction and analysis of the cycle of Uher's 'Botafogo stagings', and is dealing with plays by L. Feldek which are connected through the character of the main hero - Botafogo. The cycle is composed from five theatrical texts: Botafogo, Botafogo in Boots, Play where Sleeping Is Taking Place, Botafogo's Wealth and the fifth part dedicated to an adult spectator (later on remade into a play Metafora) Botafogo without a Head. Pavel Uher worked up several important stagings. He was fortunate to have strong dramatic personalities around him (Jozef Mokos, Katarina Revallova) and also thanks to cooperation with them he could produce interesting and original titles.

11

MEDIÁLNE REFLEXIE PROFESIONÁLNYCH ZAČIATKOV EDITY GRUBEROVEJ NA SLOVENSKÝCH JAVISKÁCH V ROKOCH 1968 – 1970

80%

Benčič S.

Slovenské divadlo (Slovak Theatre)

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2022

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tom 70

|

nr 2

188 - 202

EN

This study maps the early career of the opera singer Edita Gruberová in Slovakia (1968 – 1970). The author draws primarily on the reflections of the first appearances of this extraordinary singer, which appeared in the domestic press (specialized periodicals, dailies) or in the bulletins published for the productions. The paper also offers a perspective on the state and standard of musical, or musicological, journalism in the late 1960s and introduces the work of music critics who presented an image not only about the singer, but also about Slovak opera, through reflections of the musical and dramatic events in the Slovak National Theatre and the Jozef Gregor Tajovský Theatre in Banská Bystrica. The author analyses reviews and short journalistic texts with the aim to create a retrospective image that outlines the personalities, circumstances, occasions, and conditions in which this world-famous opera artist emerged. The study wants to complement the existing, mostly foreign, biographic monographs, studies, and media outputs that deal with the post-1970 career advancement of Edita Gruberová.

12

K POČIATKOM SLOVENSKÉHO DIVADELNÍCTVA V DVADSIATYCH ROKOCH 20. STOROČIA. JÁN BORODÁČ A ŠTEFAN KRČMÉRY

80%

Zelenková A. , Himič P.

Slovenské divadlo (Slovak Theatre)

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2023

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tom 71

|

nr 2

117 – 133

EN

The birth of the Slovak National Theatre did not immediately yield the growth of Slovak drama and Slovak theatre art. Its dramaturgical and staging challenges were just waiting for the first Slovak actors, dramaturges, and directors. In the early years of his career, by gradual steps, Ján Borodáč endeavoured to promote the Slovakness of the predominantly Czech drama ensemble of the national theatre. In person and in writing, he frequently exchanged views with the leading figures of Slovak culture, including the literary critic Štefan Krčméry. The discovered correspondence of Borodáč corroborates his efforts and supplements and clarifies some issues regarding the professionalization of theatre in the 1920s.

13

HĽADANIE NOVÉHO DRAMATIKA (SEDEMDESIATE ROKY 20. STOROČIA V SLOVENSKOM DIVADELNOM KONTEXTE)

80%

Maťašík A.

Slovenské divadlo (Slovak Theatre)

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2011

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tom 59

|

nr 4

349 – 365

EN

In the sixties, Slovak Theatre eagerly adapted modern European and world drama and did not hesitate to stage inventive interpretations of home and foreign classics and some of their outstanding productions even earned respect in the wider European cultural context. Since 1965, Slovak theatres staged only a few original plays written by Slovak playwrights that could withstand the demanding criteria and deserve to be staged again. In the early seventies, the majority of Slovak dramatic productions were just variations on a reliable model of psycho-realistic „images of life“ The model of drama employed by Karvaš tried to form a more or less logically constructed model story with the real world characters and situations that would reflect everyday experience and feelings of the audience. This approach to dramatic text was only modestly questioned by the practice of a small group at the end of the sixties and early seventies still beginning amateur artists, such as Stanislav Štepka and Milan Markovič in Radošina Naive Theatre, Ivan Hudec and Ján Belan in Theatre at Roland, Karol Horák and student theatre at the Faculty of Philosophy in Prešov UJPS and young students in the Theatre Behind the Gates in Bratislava and later their younger followers, who wrote their texts directly with the idea of their practical implementation. In the first half of the seventies, a strong generation of young artists gradually integrated into the Slovak professional theatres. Rather than „truth“, they preferred the stage imagery and metaphor, rather than practiced precision they preferred playfulness. An important attribute of texts that young theatre makers consistently sought for and which they directly inspired was the resignation from the classical structure of the dramatic text construction. The significant difference between the older and younger generation of playwrights was the rejection of the principle of process causality in the construction of situations and characters. Another significant and defining feature common for this new type of plays that were gradually added into the repertoire of Slovak ensembles thanks to the young staging teams was a strong reluctance to word as a bearer of meaning. The second half of the seventies was a turning point, when the creative energy of young theatre artists generated the first dramatic texts written for the needs of specific ensembles and respected the effort of particular theatres to modernize their repertoire.

14

30. VÝROČIE SLOVENSKEJ ŠTÁTNOSTI: POZNÁMKY O SLOVENSKOM DIVADLE

80%

Podmaková D.

Slavica Slovaca

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2023

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tom 58

|

nr 2

383 - 390

EN

This paper considers the influence of different cultures on the culture of one country, influencing the historical consciousness of a small nation and its identity within a larger state union or independent state. This fact is positively reflected in the performing arts. Three original projects bring the perspective of the creators closer to the common past with Czech and Hungarian culture. The screenplays are based on historical research and oral history: a work inspired by the form of the immersion theatre Kosmopol (2019), a puppet show Zbojník a Gašparko (2023) and the play Palárik (a to jeho teátro) goes back to the 19th century. Suchoň‘s opera Svätopluk (2023) presents the drama of a ruler in the period of Great Moravia, which also tells the story of the Slovak nation.

15

BERTOLT BRECHT V SLOVENSKOM DIVADLE V ROKOCH 1975 – 1985

80%

Knopová E.

Slovenské divadlo (Slovak Theatre)

|

2020

|

tom 68

|

nr 2

121 – 145

EN

The study focuses on the productions of Bertolt Brecht’s plays in Slovak drama theatre between 1975 and 1985. It sheds light on Brecht’s views and his demands made on epic theatre. The study also presents a fundamental view of his aesthetics and poetics of (dialectic) theatre and drama. Timewise, it links up with an older study by Martin Porubjak published in Slovenské divadlo (Slovak Theatre) in 1975 which focused on the 1947 – 1974 period. The authoress elaborates on another decade of the production tradition of Brecht’s plays in Slovak professional theatre. She makes a point that despite an ever-growing frequency of the staging of Brecht’s plays, there are only exceptional cases when Slovak theatre professionals managed to comprehensively capture Brecht’s creation, such as, for instance, in the production of Muž ako muž/A Man’s a Man (directed by Stanislav Párnický, 1975), Malomeštiakova svadba/A Respectable Wedding directed by Ivan Krajíček, 1978), or Život Galileiho/The Life of Galileo (directed by Ivan Petrovický, 1979). Following entertaining, satirical, and socio-critical interpretations, so typical of the decade in question, it was not until the latter half of the 1980s, when staged productions captured the feeling of an entire (totalitarian) epoch and heralded an inevitable toppling of communist forces, while making it clear that positive heroes were no longer attractive, as they had been weakening our vigilance for many years, for instance, Dobrý človek zo Sečuanu/The Good Person of Szechwan (directed by Vladimír Strnisko, 1986) and Baal (directed by Roman Polák, 1989).

16

EAST SLOVAKIAN THEATRES OPERATING IN AN UNCONVENTIONAL THEATRE SPACE

80%

Metasik A.

Slovenské divadlo (Slovak Theatre)

|

2008

|

tom 56

|

nr 3

289-293

EN

The author maps the endeavours of the East Slovakian theatre-makers to entertain their audiences in an unconventional theatre space. He makes mention of historic roots and motives underlying the attempts of theatre professionals to expand the offer of the theatrical productions by performances given in less formal and less convention-friendly premises. In the late of the 20th century, theatre professionals in Kosice, and particularly in Presov, made some attempts to change the conventional approach to seeking a project suitable for an unconventional theatre space; this initiative was first launched in the 1970s. This ambition was taken up and accomplished by director Jozef Prazmari together with the stage designer Stefan Hudak in HOP Theatre Studio; particular credit, however, should be given to the guest director Peter Scherhaufer and his project 'Kemu ce treba' (Who Needs You) and the production 'Kde lezi nasa bieda' (Where Our Misery Lies) at Jonas Zaborsky Theatre, Presov.

17

IN QUEST OF NEW (SLOVAK) DRAMATURGY

80%

Podmaková D.

Slovenské divadlo (Slovak Theatre)

|

2016

|

tom 64

|

nr 3

236 – 259

EN

The study elucidates some examples of the so-called new dramaturgy in Slovak theatre. It points out that as early as the 1980s, many features of the modern understanding of the role of a dramaturg and dramaturgy could also be found in a number of productions of Slovak theatres. It highlights that inspiration was drawn from Czech alternative theatre and from the Moscow Taganka Theatre. The study maps out the work of stage director Blaho Uhlár, prominent representative of author collective theatre. By using several examples, new features of Slovak theatre in the 21st century theatre dramaturgy are demonstrated (for instance, the comeback of story, the narration about man, moral values), which have certain points in common with contemporary Russian documentary theatre. The study is an introduction to a series of studies on new dramaturgy in the 21st century Slovak theatre.

18

REFLEXIA EURÓPSKYCH HODNÔT V SÚČASNOM SLOVENSKOM DIVADLE

80%

Knopová E.

Slovenské divadlo (Slovak Theatre)

|

2019

|

tom 67

|

nr 2

105 – 128

EN

The study deals with the identification of a representative sample of topics that have entered the artistic and social discourse through production work in Slovak repertoire theatres over the last three years (2016 – 2018). It gives them an implicit point of view from the perspective of thematic dramaturgy and so-called post-dramaturgy of feelings, as well as from the perspective of European values recorded in current sociological surveys. The author, by comparing the results of the European Values Study, the goals and values represented by the European Union as a community and the topics raised by the Slovak theatre (the so-called established and repertoire theatres), tries to establish whether or not and if so – how, our theatre communicates through the reflection of the themes and their interpretation with the attitudes of Slovak and European citizens. For example on the issues such as identity, family, threat, tolerance, Islamization of the old continent, protection of democracy, but also legitimization of traditional values liberalisation.

19

METAMORPHOSES...

80%

Podmakova D.

Slovenské divadlo (Slovak Theatre)

|

2008

|

tom 56

|

nr 3

279-281

EN

This past decade, we have been witnessing marked changes in the Slovak theatre, which are more about poetics and the manner of the theatrical production of our time rather than the institutional nature of the theatre. To put it differently - they relate to the sets of the knowledge of artistic devices creating different styles and directions in modern drama and dramatic expression of theatre artists. Would it be proper to talk about new trends? Artistic trends? Or would it be more appropriate to just talk about differences? Subsequent to 1989, the new socio-political and economic orientation has ushered in new themes and forms and eroded the well-established traditions of the Slovak theatre. It has prompted a dialogue between various economic and political systems on the one hand and artistic freedom on the other. Not all of us are prepared to approach this freedom as an opportunity to broaden up one's horizons of knowledge. This is especially true of the older generation of theatre artists who are not particularly keen to follow the modern theatre (but, there are also exceptions, and the best proof is the current edition of The Slovak Theatre), whereby they argue by making reference to similar trends in the 1960s and that, in fact, there is nothing novel about the current trends. However, as distinct from the 1960s, which foreshadowed hope, optimism, 'the free world' of our time is branded by terrorism, pessimism, disillusion... parallel to this enervation, we have been witnessing the theatre of rich thoughts, a poetic, lyric theatre laudating life... therefore, it is imperative to take note of all stimulating forces which influence the arts and be cognizant of their connections which go beyond the domain of the theatre. Listening, watching, holding discussions…not just harping on threadbare arguments. The workshop 'Premeny poetiky slovenskeho divadla na prelome 20. a 21. storocia' (The Metamorphoses of the Poetics of the Slovak Theatre at the Turn of the 20th and 21st Centuries) was just that. The venue of the workshop was the Little Congress Centre of VEDA, Publishing House of the Slovak Academy of Sciences; here, on 18 June, 2008, a dialogue between theorists and critics was started, with the financial support of the Ministry of Culture of the Slovak Republic and VEGA Grant Agency.

20

DIVADELNÉ REFLEXIE SLOVENSKEJ REPUBLIKY 1939 – 1945 V 21. STOROČÍ

80%

Mihálová L.

Slovenské divadlo (Slovak Theatre)

|

2018

|

tom 66

|

nr 2

176 – 194

EN

The study deals with forms of the Slovak Republic (1939 - 1945) in Slovak theatre after the year 2000. We currently observe a strong dramaturgical tendency to bring to the stages the reflection of historical events from various historical periods, one of the most depicted being the period of World War II. Its themes are found in the productions of the original theatrical plays as well as in the dramatisation of literary works. The first part of the study is devoted to delineation of the Slovak Republic (1939 - 1945) in the productions after 2000 (Tiso [Tiso], Stalo sa prvého septembra [It Happened on 1st September], Rabínka [The Female Rabbi], Holokaust [Holocaust], Povstanie [Uprising], Obchod na korze [The Shop on the Parade], Polnočná omša [Midnight Mass], Tichý bič [The Silent Whip], Kým kohút nezaspieva [Until the Cock Sings]). The second part is focused on the analysis of the selected thematic elements offered by the productions falling within this circle and which appear in the new optics of the so-called second generation.