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. 61 Tamže. 62 BORODÁČ, Janko. Ako nám vyrástla slovenská činohra. In Slovenský denník, roč. 20, č. 37, 14. 2. 1937, s. 3. 63 Viac o tejto téme pozri MAŤAŠÍK, Andrej. Vznik a prvé roky Slovenského národného divadla : vývoj inštitú- cie Slovenského národného divadla od počiatkov po nástup Oskara Nedbala. Bratislava : Ústav divadelnej a filmovej vedy Slovenskej akadémie vied, 2015. ISBN 978-80-971155-4-8. KAROL MIŠOVIC120 JÁN BORODÁČ AND HIS FIRST STEPS IN LIFE AND THEATRE Karol MIŠOVIC This paper presents little-known historical contexts of the life and production

The Slovak Theatre – 2018 – Volume 66 – Issue 3 DOI: 10.2478/sd-2018-0014 EXPRESSIONAL BIPOLARITY OF THEATRE (SELECTED CASE STUDIES IN CONTEMPORARY THEATRE) MIROSLAV BALLAY Department of Cultural Studies at the Faculty of Arts, Constantine the Philosopher University in Nitra Abstract: The author contemplates expressional bipolarity of contemporary art of theatre. He is personally interested in whether theatre has yet a chance to purify spectators. He explores theatre in terms of reception, and also focuses on the methods of addressing the themes of the day

The Slovak Theatre – 2017 – Volume 65 – Number 3 DOI: 10.1515/sd-2017-0014 TRANSFORMATIONS OF CONTEMPORARY THEATRE PRACTICES. A REFLECTION ON THE CREATIVE PROCESS AS RESEARCH MIROSLAV BALLAY Department of Cultural Studies at the Faculty of Arts, Constantine the Philosopher University in Nitra Abstract: 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

The Slovak Theatre – 2017 – Volume 65 – Number 3 DOI: 10.1515/sd-2017-0016 THE REPERTOIRES OF SLOVAK AND SLOVENIAN THEATRE HOUSES AND THEIR PRODUCTIONS OF THE WESTERN EUROPEAN AND AMERICAN AUTHORS (1945 – 1970) ROK ANDRES University of Nova Gorica, Slovenia Abstract: This article is a comparative review of performances of Western European and Ameri- can 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

. 8 LAZAROWICZ, Klaus. Triadische Kollusion: Über die Beziehungen zwischen Author, Schauspieler und Zuschauer im Theater. In Das Theater und sein Publikum. Wien : Veröffentlichungen des Instituts für Publikumforschung, 1977, pp. 44 – 60. ISBN 3-7001-0238-0. 9 Badiou’s theatre theory consciously struggles with postmodernism, i.e. “[…] a period of apparent barbarism, of intrinsic valorization of the complexities of disorder, of the rejection of repetition and easily discernible configurations,“ as it is apparent e.g. in non-figurative painting or atonal music

The Slovak Theatre – 2017 – Volume 65 – Number 3 DOI: 10.1515/sd-2017-0015 S tu di es PETER KONWITSCHNY, OPERA AND THEATRE DIRECTOR SHAPING THE PROFILE OF THE BRATISLAVA OPERA OF A NEW MILLENNIUM MICHAELA MOJŽIŠOVÁ Institute of Theatre and Film Research, Slovak Academy of Sciences, Bratislava Abstract: The paper examines the work of the acclaimed German opera and theatre director Peter Konwitschny at the Opera of the Slovak National Theatre. The authoress bases herself on an analysis of the productions of Eugen Onegin (2005) [Eugene Onegin], by Tchaikovsky

THEATRICAL COLLOQUIA 54 DOI number 10.2478/tco-2019-0016 The Theatre Critic’s Memory Călin CIOBOTARI Abstract: In the text bellow I try to approach a very problematic relation between theatre critic and memory. Is the memory of a performance a valid barometer of the inner value of that performance? How does the theatre critic’s memory work? How do we define and manage forgetting or the absence of memories in theatre? Key words: theatre, memory, theatre critic The more frequently we talk about the memory of theatre, a syntagm upon which

ourselves at today’s end of history in a troubled present which must be questioned. What has become of us, those who are applauding the centenary of our theatre? What is missing and what are our dissatisfactions? We shall let other people make the bows while we assume the discomfort of the discourse on unfulfillment. Key words: Romanian theater, discontents, independent theater. 1. The position of the theatre and of the artist in society On the Romanian territory, theatre has gradually become rather a means of entertainment than art. It has lost its serious

THEATRICAL COLLOQUIA 216 DOI number 10.2478/tco-2019-0028 Theater Festivals - a Collective Archive Ramona-Petronela IACOBUŢE Abstract: Theatre can also be viewed as a collective archive that we go to when we need to better understand the world around us, artistic movements and trends, the state of mankind. Each participant in a theatrical act, whether spectator or creator, loads it with emotions and, therefore, with memories. Theatre, in all its forms, strengthens communities, and theatre festivals are a very good opportunity to popularize

The Slovak Theatre – 2017 – Volume 65 – Number 3 DOI: 10.1515/sd-2017-0013 THE THEME OF “A NEW LOST GENERATION” IN THE PRODUCTION OF PREŠOV NATIONAL THEATRE ELENA KNOPOVÁ Institute of Theatre and Film Research, Slovak Academy of Sciences, Bratislava Abstract: The authoress elucidates the concepts of generations and generational affiliation, while focusing on various names and characteristics referring to a group of young people born during the 1980s and early 1990s. She introduces Generation Y, also called Millennials, and gives a short