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The Game of Seven: Glückshaus and Related Dice Games

Abstract

Glückshaus is a relatively modern version of the larger family of Games of Seven (games played with two six-sided dice and a stake board with fields usually numbered 2-12, often with an emphasized 7.). This paper looks at various historical versions of the game and shows how the modern Glückshaus version and its pecularities (e.g. a missing field for the number 4) came about when the dice game was combined with a stake board for a card game

Open access
A game that never was: Verney’s duodecimal chess

Abstract

A large chess variant played on a 12x12 board was inadvertently created by G. H. Verney, author of Chess Eccentricities, who seriously misinterpreted one of his sources, A. van der Linde’s Quellenstudien zur Geschichte des Schachspiels. Despite its serendipitous origins, the game, for which the name Verney’s Duodecimal Chess seems appropriate, is surprisingly playable. A set of rules is suggested since those provided by Verney are incomplete.

Open access
Le formateur et son public dans le cadre de l’élaboration d’une simulation de type wargame sur plateau

Abstract

Le wargame est un outil de réflexion qui emploie des techniques créatives pour stimuler l’imagination des historiens, des décideurs et des analystes dans un but d’identification d’opportunités et de menaces. Son objet est de permettre à ses joueurs de recréer des situations spécifiques et, plus important encore, d’être capable d’explorer ce qui aurait pu (approche historique) ou pourrait (approche prospective) se passer si le joueur décidait de faire les choses différemment.

Issu d’une tradition assez longue de tentatives d’adaptation du jeu d’échecs à la simulation de bataille, le wargame s’applique depuis plus de deux siècles à la modélisation d’affrontements militaires à des fins de formation et d’élaboration de nouvelles stratégies ou tactiques. Par la suite, son champ d’application s’est étendu, il y a un peu plus d’un siècle, à la réflexion historico-militaire et depuis une soixantaine d’années à l’aide à la décision stratégique concernant des affrontements concurrentiels et économiques. Selon les moyens disponibles et les contextes de leurs mises en œuvre, les wargames prennent désormais quatre formes différentes : jeux de rôles de type grandeur nature, simulations informatiques, modélisation à base de figurines (ou sandbox) et modélisation sur des cartes ou plateaux.

Nous nous intéresserons, dans le cadre de ce travail, spécifiquement aux cas des wargames sur cartes et plateaux (board wargames). Nous les aborderons d’abord en tant que moyen de compréhension d’une situation historique et militaire, puis en tant que transposition à des fins d’analyse stratégique concurrentielle. Nous commencerons par en décrire les contours historiques et fondamentaux pratiques. Puis, nous montrerons comment le formateur peut adapter ou concevoir le “jeu” selon la situation qu’il doit modéliser ainsi qu’au public auquel il est destiné. Nous discuterons ainsi de la conception d’un wargame en fonction des objectifs visés, du développement du prototype et de la phase de tests en tant que première confrontation au public ciblé par le formateur. Nous présenterons aussi comment, la modélisation d’un wargame est transposable à la modélisation d’un marché. Au-delà de l’aspect ludique et des objectifs du jeu, nous montrerons comment les participants peuvent prendre part à sa conception. De cette manière, nous aborderons la réflexion autour de la conception du jeu qui, bien menée, permet d’appréhender dans son entier un environnement concurrentiel et ses acteurs et d’en comprendre tous ses mécanismes et ses enjeux.

Open access
Contribution of Slovak Directors to the Profile of the Czech Opera Theatre After 1993

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.

Open access
Conveyance of the Dramatic Work El Gran Galeoto by José Echegaray to the European Scene and His Reception in Bratislava at the End of the 19th Century

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
Miloš Wasserbauer’s Work at the Slovak National Theatre in the 50s and Early 60s of the 20th Century

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
Possiblities and Limitations of Translation of Slovak Drama Into Polish Culture

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