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Items from 1 to 20 out of 42 results

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RUSKÉ DENNÍKY AKO INTERSEMIOTICKÝ PREKLAD

Dagmar Inštitorisová

Slovenské divadlo (Slovak Theatre) > 2020 > 68 > 2 > 185 – 197

The paper deals with the issue of using translation strategies in creating types of recipient interpretations. In the introductory parts, the authoress covers the general characterisation of understanding the issue of translation in theatrical art. In general, it also deals with the issue of poly-textuality of a theatrical work and a permanent performative semantic or expressive openness of a dramatic/production...

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KIERKEGAARDOV KONCEPT OPAKOVANIA V INSCENÁCII BANALITA LÁSKY

Katarína Gabašová

Slovenské divadlo (Slovak Theatre) > 2020 > 68 > 2 > 163 – 175

The study is devoted to depicting recollection in a selected production Banalita lásky (The Banality of Love, Andrej Bagar Theatre, 2019). It broadens out the scope of interpretation by elucidating Søren Kierkegaard’s concept of repetition, which in his works is a key religious category of transcendence. Kierkegaard considered repetition as a temporal movement of existence and also an important tool...

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BERTOLT BRECHT V SLOVENSKOM DIVADLE V ROKOCH 1975 – 1985

Elena Knopová

Slovenské divadlo (Slovak Theatre) > 2020 > 68 > 2 > 121 – 145

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...

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NEZNÁMA (HERECKÁ) TVÁR JANKA BORODÁČA

Karol Mišovic

Slovenské divadlo (Slovak Theatre) > 2020 > 68 > 1 > 5 - 23

When reflecting on the work of Janko Borodáč, the founding personality of Slovak theatre, the greatest emphasis is rightly placed on his directing, dramaturgical, and directorial activities. Aside from that, Borodáč had also been an active member of the Slovak National Theatre drama ensemble for more than twenty years, where he enjoyed a prominent position. The aim of the study is to present not only...

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ELENA ZVARÍKOVÁ PAPPOVÁ. FEMME FATALE SLOVENSKÉHO HERECTVA

Karol Mišovic

Slovenské divadlo (Slovak Theatre) > 2019 > 67 > 4 > 353 – 378

Elena Zvaríková Pappová (1935 - 1974) was one of the most distinctive phenomenon’s among Slovak actors in the second half of the 20th century, but to this day her artistic profile has not been comprehensively researched. The most interesting period of her career was associated with her engagement at the Theatre of the Slovak National Uprising in Martin (1954 - 1968). To begin with she played marginal...

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IVAN VYRYPAYEV IN SLOVAKIA

Nadežda Lindovská

Slovenské divadlo (Slovak Theatre) > 2019 > 67 > 3 > 203 – 223

Theatre plays by Ivan Vyrypayev, Russia’s foremost and most influential contemporary play-wright, are frequently staged not only in Russia, but also abroad. Several plays have even been written on demand of European theatres. Vyrypayev is a very special and in many ways antipodal author. On the one hand, he bases himself upon the Russian cultural tradition, while engaging in a critically tuned dialogue...

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NÁČRT K PROBLEMATIKE REŽIJNEJ A DRAMATURGICKEJ TVORBY JANKA BORODÁČA POČAS JEHO PÔSOBENIA V KOŠICIACH

Karol Mišovic

Slovenské divadlo (Slovak Theatre) > 2019 > 67 > 1 > 23 – 39

This article deals with the still barely explored theatrology during the era of Janko Borodáč in the Košice theatre, where he was appointed as a director due to political influences in 1945. In less than a month, Borodáč was able to consolidate the theatre, consisting of three ensembles, which gradually managed to achieve success on a national scale. After 1948, when Communist ideology forced artists...

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DIVADELNÉ PROFESIONALIZMY OČAMI LINGVISTKY

Oľga Orgoňová

Slovenské divadlo (Slovak Theatre) > 2019 > 67 > 1 > 86 – 98

The paper deals with the terminology category of the so-called professionalisms, which are used in verbal communication by the professionals within the Slovak theatre. The aim is to highlight to readers this specific vocabulary which oscillates between official and non-standard language (jargon). So far this issue has not been included in professional or general Slovak dictionaries. At the same time...

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REFLEXIA EURÓPSKYCH HODNÔT V SÚČASNOM SLOVENSKOM DIVADLE

Elena Knopová

Slovenské divadlo (Slovak Theatre) > 2019 > 67 > 2 > 105 – 128

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...

article

JANKO BORODÁČ – ANDREJ CHMELKO. DVE CESTY – JEDEN SMER

Peter Himič

Slovenské divadlo (Slovak Theatre) > 2019 > 67 > 1 > 40 – 57

The study deals with the not very well documented relationship between the founders of Slovak professional theatre following World War II. The relationship between Janko Borodáč, director of the East Slovak National Theatre in Košice, and the artistic director, Andrej Chmelko, have long been perceived as art-related, predominantly only in one direction, with the clear dominance of Borodáč. The work...

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ROK 1948: EMANCIPÁCIA ŽIEN A SLOVENSKÉ DIVADLO. PRÍSPEVOK K DEJINÁM RODOVÝCH VZŤAHOV NA SLOVENSKU

Nadežda Lindovská

Slovenské divadlo (Slovak Theatre) > 2018 > 66 > 2 > 141 – 163

From the cultural and art point of view, the year 1948 in Czechoslovakia was not just the so-called "Victorious February” of the working people. The remarkable phenomenon of this era, which was related to the post-war political and social movement, was the phenomenon of female emancipation and feminization of the stage production. During the two consecutive theatre seasons 1947/1948 and 1948/1949,...

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DIVADELNÉ REFLEXIE SLOVENSKEJ REPUBLIKY 1939 – 1945 V 21. STOROČÍ

Lucia Mihálová

Slovenské divadlo (Slovak Theatre) > 2018 > 66 > 2 > 176 – 194

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...

article

From creating spaces to evoking images : 4 + 1 Hamlets in Slovak theatre

Jana Wild

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia:... > 2018 > 21 > 2 > 64-78

This paper reflects upon staging Hamlet in Slovakia from 1950 to 2004. The five selected productions brought seemingly different designs of the theatrical space. And yet in four of them, there were many similarities in terms of mimetic understanding of the space. There was only one, nearly unnoticed production in the Rusyn language (2004) building a completely different space: based upon sophisticated...

article

REPERTOIRES OF SLOVAK AND SLOVENIAN THEATRE HOUSES AND THEIR PRODUCTIONS OF THE WESTERN EUROPEAN AND AMERICAN AUTHORS (1945 – 1970)

Rok Andres

Slovenské divadlo (Slovak Theatre) > 2017 > 65 > 3 > 283 – 301

This article is a comparative review of performances of Western European and American authors in Slovak and Slovenian theatres in the two decades after World War II. First, we present a short historical context, comparing the political systems and cultural policies of both states. We define the importance of the selection of works for the repertoire(s) and then parallel them to the main characteristics,...

article

TRANSFORMATIONS OF CONTEMPORARY THEATRE PRACTICES. A REFLECTION ON THE CREATIVE PROCESS AS RESEARCH

Miroslav Ballay

Slovenské divadlo (Slovak Theatre) > 2017 > 65 > 3 > 251 – 265

The study offers an outline of certain modifications of contemporary Slovak theatre culture under the influence of ongoing socio-cultural changes. The author reviews the status of contemporary theatre in society while following the ever-changing character of its individual functions. He deals with innovative trends of various directorial representatives in the context of independent culture in Slovakia...

article

DIVADELNÍCTVO V NITRE V ROKOCH 1939 – 1945

Miroslav Palárik

Studia Historica Nitriensia > 2017 > 21 > 2 > 366 – 430

The totalitarian regime established in Slovakia after October 1938 affected not only the political and economic life, but it was fully manifested in the cultural sphere and ways of spending leisure time as well. Residents of Nitra could feel "the cold breath of totalitarianism" on their own skin in the form of restrictions and regulations issued by the governing party through local loyal...

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REKONŠTRUKCIA DIVADELNEJ INSCENÁCIE AKO VEDECKÁ I TVORIVÁ METÓDA Z POHĽADU PEDAGOGICKÉHO PROCESU V RÁMCI VÝUČBY DEJÍN SLOVENSKÉHO DIVADLA

Zdenka Pašuthová

Slovenské divadlo (Slovak Theatre) > 2016 > 64 > 1 > 4 – 18

This paper deals with the methodology and typology of the theatre production reconstructions as a prerequisite for research and theatre-making. Based on selected theories, it defines boundaries and stages of production process. The role of the reconstruction of individual phases of production is illustrated by a seminar assignment in teacher training (reconstruction of the production of Pavel Kyrmezer’s...

article

IN QUEST OF NEW (SLOVAK) DRAMATURGY

Dagmar Podmaková

Slovenské divadlo (Slovak Theatre) > 2016 > 64 > 3 > 236 – 259

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...

article

POZNÁMKY K PROFILÁCII OPERY SND V MEDZIVOJNOVOM OBDOBÍ

Michaela Mojžišová

Slovenské divadlo (Slovak Theatre) > 2014 > 62 > 4 > 382 - 394

This article deals with the shaping of the opera company of the Slovak National Theatre in the interwar period. Its main focus is on the characteristics of Karel Nedbal’s era (1928–1938), but neither does it ignore the contribution of his predecessor Oskar Nedbal, who, besides other things, improved the quality of the opera orchestra in Bratislava and helped the Slovak National Theatre establish relations...

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

Elena Knopová

Slovenské divadlo (Slovak Theatre) > 2013 > 61 > 3 > 206 - 218

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...

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RUSKÉ DENNÍKY AKO INTERSEMIOTICKÝ PREKLAD

KIERKEGAARDOV KONCEPT OPAKOVANIA V INSCENÁCII BANALITA LÁSKY

BERTOLT BRECHT V SLOVENSKOM DIVADLE V ROKOCH 1975 – 1985

NEZNÁMA (HERECKÁ) TVÁR JANKA BORODÁČA

ELENA ZVARÍKOVÁ PAPPOVÁ. FEMME FATALE SLOVENSKÉHO HERECTVA

IVAN VYRYPAYEV IN SLOVAKIA

NÁČRT K PROBLEMATIKE REŽIJNEJ A DRAMATURGICKEJ TVORBY JANKA BORODÁČA POČAS JEHO PÔSOBENIA V KOŠICIACH

DIVADELNÉ PROFESIONALIZMY OČAMI LINGVISTKY

REFLEXIA EURÓPSKYCH HODNÔT V SÚČASNOM SLOVENSKOM DIVADLE

JANKO BORODÁČ – ANDREJ CHMELKO. DVE CESTY – JEDEN SMER

ROK 1948: EMANCIPÁCIA ŽIEN A SLOVENSKÉ DIVADLO. PRÍSPEVOK K DEJINÁM RODOVÝCH VZŤAHOV NA SLOVENSKU

DIVADELNÉ REFLEXIE SLOVENSKEJ REPUBLIKY 1939 – 1945 V 21. STOROČÍ

From creating spaces to evoking images : 4 + 1 Hamlets in Slovak theatre

REPERTOIRES OF SLOVAK AND SLOVENIAN THEATRE HOUSES AND THEIR PRODUCTIONS OF THE WESTERN EUROPEAN AND AMERICAN AUTHORS (1945 – 1970)

TRANSFORMATIONS OF CONTEMPORARY THEATRE PRACTICES. A REFLECTION ON THE CREATIVE PROCESS AS RESEARCH

DIVADELNÍCTVO V NITRE V ROKOCH 1939 – 1945

REKONŠTRUKCIA DIVADELNEJ INSCENÁCIE AKO VEDECKÁ I TVORIVÁ METÓDA Z POHĽADU PEDAGOGICKÉHO PROCESU V RÁMCI VÝUČBY DEJÍN SLOVENSKÉHO DIVADLA

IN QUEST OF NEW (SLOVAK) DRAMATURGY

POZNÁMKY K PROFILÁCII OPERY SND V MEDZIVOJNOVOM OBDOBÍ

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

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