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Peter Michalovič

Abstract

Shortly before his death Hungarian writer and essayist Péter Esterházy (1950 – 2016) wrote the dramatic text of Mercedes Benz – Historical Revue in two parts for the Slovak National Theatre. In particular, it focuses on the famous noble family Esterházy’s influence in Slovakia. The author of the play had a very strong association with this matter. In his writing Péter Esterházy used a wide range of intertextualities: his literary texts are like the fabric spun from fibres of the autobiography of his own family history, but also fragments of Hungarian and Slovak history, legends, tales, as well as hearsay and myths. The interpreted dramatic text is remarkable because Esterházy, in addition to intertextual recycling of his own texts, also exploits the texts of the Hungarian classic author Imre Madách The Tragedy of Man. The author of the study has focused on clarifying the function, specification and effects of Esterházy’s intertextual writing.

Open access

Dagmar Podmaková

Abstract

The production of the play by Bulgarian playwright Yordan Radichkov An Attempt at Flying (premiered on 22 March 1980 at the Pavol Orzságh Hviezdoslav Theatre) is one of the most successful plays in the history of Slovak National Theatre Drama. The text-metaphor of the old age longing of mankind to fly and to recognize the unrecognizable, even for just a moment, offers on the axis of “magical realism” or grotesque realism”, in the words of the author, a humanistic picture of life and ideas in which the characters live their everyday life, they start a magical fantasy game and express many truths of the life. This article draws attention to the production of director Pavel Haspra through analysis of the play’s text, the production script and the TV recording of one of the last stage performances. Altogether over six years (from March 1980 to June 1987), 148 performances took place, both domestic and Czech critics writing about the extraordinary acting of all the participants. One cannot omit the significance and theatrical contribution of Vladimir Suchánek’s scenography vision with several symbolic and metaphorical dimensions (a hay cart hanging in the air, through which the villagers, who longed for just a moment of freedom, fulfilled their dreams).

Open access

Lucyna Spyrka

Abstract

The Polish and Slovak languages, as well as Polish and Slovak cultures, are considered very similar, so it would initially appear that there would be no obstacles limiting the possibilities of translating Slovak drama into Polish. It turns out however, that Slovak drama is not often translated into Polish. Older translations that were presented in Polish theatres were rarely followed in the press, and today they have been forgotten. On the contrary, current translations are published far more often than staged. The presented study evaluates this situation as a result of several limiting factors. In addition to the political conditions of cultural exchange and the manner in which publishers and theatres operate in Poland, there is also a linguistic closeness that negatively impacts on the quality of translations, as well as the stereotype of Polish and Slovak cultural proximity, which limits the interest of Polish audiences in Slovak drama.

Open access

Šárka Havlíčková Kysová

Abstract

The article examines the work of opera director Miloš Wasserbauer during the 50s and at the beginning of the 60s of the 20th century in the Slovak National Theatre. Focusing on the staging of new Slovak operas Ján Cikker’s Juro Jánošík and Beg Bajazid, and Eugen Suchoň’s Svätopluk. The author analyses Wasserbauer’s approach to the productions and Slovak staging tradition from the perspective of the Czech director and the critical reflection of the performances. Special attention is paid to the conceptualisation of Slovak national feeling in the corpus of archive materials.

Open access

Jana Laslavíková and Beatriz Gómez-Pablos Calvo

Abstract

This study looks at the work of Spanish playwright José Echegaray and the circumstances of his domestication on the European theatre stages at the turn of the 20th century. One of his most important works, El gran Galeoto 55, arrived in Bratislava in 1889, only one year after its premiere in Vienna and three years after the opening of the new building of the Bratislava City Theatre. The premiere of the work, translated into German and in a theatrical adaptation from Paul Lindau’s pen named Galeotto took place around the same time as the premiere of the work Ralph William from the domestic author Josef Julian, which thanks to a similar theme was perceived as «Bratislava’s Galeotto».

Open access

Michaela Mojžišová

Abstract

The ambition of the survey study, which maps the work of Slovak directors in Czech opera theatres after 1993, is to identify the number of Slovak creators in the opera-theatre discourse of the very closely connected countries in terms of culture and history while at the same time adding the professional biographies of Slovak artists – who are little known and reflected upon in their homeland – and parts of their works. The author concludes that the split of the Czechoslovak Republic and the subsequent creation of separate Czech and Slovak Republics did not have an adverse effect on the mutual contacts of our opera cultures. At present, we even enjoy intensified co-operation in both directions. The nonjudgmental attitude of Czech theatres towards the influence of Slovak film directors in the Czech Republic is clear: not only credible creators (Marián Chudovský), but also representatives of the younger generation of opera directors (Andrea Hlinková) and renowned drama directors with previous opera experience (Martin Huba, Roman Polák), as well as creators who had not yet worked on the opera scene at home (Martin Čičvák, Sláva Daubnerová) were presented with an opportunity to contribute. Despite the fact that their works represented the enrichment of the Czech opera-theatre, the Slovak director with the most significant contribution to the Czech opera theatre remains Jozef Bednárik, even two decades later.

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Ruthie Abeliovich and Edwin Seroussi

Open access

Ján Sabol

Abstract

The study reflects on divergence between theatre and film. It also points out that the difference ought to be sought in ontology, in the principle of the coding of actual reality by using film or theatrical language. In the perception of a syncretic work that connects the elements of both types of art, the viewer a priori perceives theatrical mimesis (and also the execution of theatrical mise-en-scène) as an “alien” element used by the film “language” of a concrete cinematographic work. The perception of such a work assumes the viewer’s readiness and willingness to accept a hybrid work, which inevitably calls for a different manner of decoding the narrative offered. If we are to summarise the hitherto knowledge which elucidates the relationship between theatre and film (in the manner in which actual reality is mimicked and in the subsequent execution of theatrical and film mise-en-scène), it may be concluded that, as opposed to film, theatre enjoys a unique opportunity to imitate actual reality by performing which takes place in real time and in direct interaction between the actor and the viewer. The film conveys this using filmmaking devices.

Open access

Dáša Čiripová

Abstract

The study explores the art of performance and happening in Slovakia from the 1960s, and its influence on theatre. Given its interdisciplinarity, the first part is dedicated to the vantage points of performance in Slovakia: action art and related names. Action art had significant influence on later theatre performative forms. The second part focuses in detail on actions and performances by the company Temporary Society of Intense Experience, Balvan Theatre and on the artist Miloš Karásek.

Open access

Zuzana Spodniaková

Abstract

The study presents an overview and analysis of contemporary Moscow productions inspired by the personality and work of the legendary Russian actor and poet of the latter half of the 20th century, singer and songwriter Vladimir Semyonovich Vysotsky (1938 – 1980). The authoress covers both the older productions which have been on the repertoires of theatres for several years and more recent productions staged this year on the occasion of the artist’s unlived 80th birthday. Researching on the productions by different theatre makers, staged by various theatres and drama ensembles, points at the importance and up-to-dateness of the creative legacy of Vladimir Vysotsky and at the significance of him as a personality that has become a legend and a component part of the cultural history of Soviet and post-Soviet eras. The productions constitute a significant part of the unwavering cult of his personality.