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Slovenske divadlo /The Slovak Theatre最新文献

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The Casuistry of Die Kleinbürgerhochzeit [A Respectable Wedding] by Bertolt Brecht in Slovak Theatre: A Struggle for Values Bertolt Brecht在斯洛伐克剧院的《一场值得尊敬的婚礼》中的诡辩:一场价值观的斗争
Slovenske divadlo /The Slovak Theatre Pub Date : 2021-09-30 DOI: 10.31577/sd-2021-0017
E. Knopová
{"title":"The Casuistry of Die Kleinbürgerhochzeit [A Respectable Wedding] by Bertolt Brecht in Slovak Theatre: A Struggle for Values","authors":"E. Knopová","doi":"10.31577/sd-2021-0017","DOIUrl":"https://doi.org/10.31577/sd-2021-0017","url":null,"abstract":"The study explores the one-act play Die Kleinbürgerhochzeit [A Respectable Wedding] by Bertolt Brecht and its productions in Slovak professional theatre.1 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).","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128587767","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
From Stars to Starmakers: Spotlighting the Producers of Popular Screen Identities 从明星到造星人:聚焦流行银幕身份的制作人
Slovenske divadlo /The Slovak Theatre Pub Date : 2021-09-30 DOI: 10.31577/sd-2021-0022
Milan Hain
{"title":"From Stars to Starmakers: Spotlighting the Producers of Popular Screen Identities","authors":"Milan Hain","doi":"10.31577/sd-2021-0022","DOIUrl":"https://doi.org/10.31577/sd-2021-0022","url":null,"abstract":"Forty years ago, Richard Dyer almost single-handedly inaugurated a new discipline within film studies devoted to the study of stars and their social significance. Since the publication of his ground-breaking book, there have been many attempts at expanding his semiotic and sociological paradigm and also at redirecting the focus to gain a better understanding of the role of ideology, performance style or historically positioned audiences. One meaningful avenue of research was opened up, in particular, by Paul McDonald who has called for studying the industrial and economic processes behind what he calls the production of popular identities. While his model proved influential, it seems that most research projects are still dominated by emphasis on individual stars, neglecting or marginalizing other important agents in the star-making process. In this article, I propose to move one step further and refocus our attention on film producers, talent scouts, agents, publicists and other skilled professionals whose business was in the Hollywood studio era to discover, develop, promote and sell stars. Using a case study focused on producer David O. Selznick and his “Swedish discovery” Ingrid Bergman I demonstrate that the actress’ public identity – often assumed to be wholly authentic and autonomous – was in fact systematically constructed by Selznick’s independent production company.","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116215995","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Schlingensief’s Containers. Uncompromising Exposure of the Face of the Far Right Schlingensief的容器。毫不妥协地揭露极右翼的真面目
Slovenske divadlo /The Slovak Theatre Pub Date : 2021-09-30 DOI: 10.31577/sd-2021-0018
Martin Hodoň
{"title":"Schlingensief’s Containers. Uncompromising Exposure of the Face of the Far Right","authors":"Martin Hodoň","doi":"10.31577/sd-2021-0018","DOIUrl":"https://doi.org/10.31577/sd-2021-0018","url":null,"abstract":"The study deals with the re-enactment of the multimedia installation Bitte liebt Öster­ reich [Please Love Austria], realised by Christoph Schlingensief at the Wiener Festwochen festival in 2000. The theoretical starting point of the analysis is the post-colonial theory of Achille Mbembe, who deals with the notion of nanoracism. Schlingensief’s social sculpture on the border between actionism and installationism was a direct response to the Austrian parliamentary elections, in which the far-right party Freiheitliche Partai Österreichs (FPÖ) attempted to enter parliament. In particular, the study examines the degree of performativity, the media structure, and the themes of racism and xenophobia. The focus of the study is on the use of compositional practices and their intersections of type, genre and media. In summarising Schlingensief’s work, whether theatre or cinematic, the author also attempts to capture the artist’s ability to use the medium within and through art forms with respect to the speed of information","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115129254","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Biblical and Religious Themes in Romeo Castellucci’s Selected Opera and Music Theatre Stagings 《罗密欧·卡斯特鲁奇歌剧与音乐剧选集》中的圣经与宗教主题
Slovenske divadlo /The Slovak Theatre Pub Date : 2021-09-30 DOI: 10.31577/sd-2021-0019
Michaela Mojžišová
{"title":"Biblical and Religious Themes in Romeo Castellucci’s Selected Opera and Music Theatre Stagings","authors":"Michaela Mojžišová","doi":"10.31577/sd-2021-0019","DOIUrl":"https://doi.org/10.31577/sd-2021-0019","url":null,"abstract":"This text deals with the opera (music theatre) stage performances of the Italian theatre maker Romeo Castellucci. The author calls attention to the artist’s interpretation of operas or other works of music with a Biblical and religious background. On the example of four productions (Alessandro Scarlatti: Il primo omicidio, Richard Strauss: Salome, Wolfgang Amadeus Mozart: Requiem, Arthur Honegger: Jeanne d ́Arc au bûcher), she examines how Castellucci stages themes that form the objects of religious dogmas. In this study, the term dogma is not meant in a negative sense (i.e., as a limited, unilateral, manipulative interpretation), but is perceived in its original etymological sense, as a binding, normative statement in the field of faith.","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130573060","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Rethinking Drama in the Crisis of Deliberative Communication: The Radical Theory of Martin Buber and Gustav Landauer 在协商传播危机中重新思考戏剧:马丁·布伯和古斯塔夫·兰道尔的激进理论
Slovenske divadlo /The Slovak Theatre Pub Date : 2021-09-30 DOI: 10.31577/sd-2021-0021
Jan Motal
{"title":"Rethinking Drama in the Crisis of Deliberative Communication: The Radical Theory of Martin Buber and Gustav Landauer","authors":"Jan Motal","doi":"10.31577/sd-2021-0021","DOIUrl":"https://doi.org/10.31577/sd-2021-0021","url":null,"abstract":"","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130483869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Decomposition with New Technologies in Contemporary Slovak Theatre Productions 分解与新技术在当代斯洛伐克戏剧作品
Slovenske divadlo /The Slovak Theatre Pub Date : 2021-09-30 DOI: 10.31577/sd-2021-0020
Milan Hrbek
{"title":"Decomposition with New Technologies in Contemporary Slovak Theatre Productions","authors":"Milan Hrbek","doi":"10.31577/sd-2021-0020","DOIUrl":"https://doi.org/10.31577/sd-2021-0020","url":null,"abstract":"This case study focuses on one of the principles of theatre decomposition and illustrates it with the analysis of the staging of the contemporary opera Muž v skafandri [Man in a Spacesuit, 2020] of the composer and librettist Miroslav Tóth, directed by Jan Komárek. The aim of this study is to zoom in on contemporary cross-media and cross-genre trends in Slovak theatre productions that use new technologies, by which theatre makers intervene into the composition of the staging by deconstructing its means of expression. The scenes of the productions are fragmentized; the theatre makers break them down into their basic components to find new possibilities and meanings, while the recipients perceive these associatively.","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134515925","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
PRVNÍ SLOVENSKÝ HOROR? první slovenský horor?
Slovenske divadlo /The Slovak Theatre Pub Date : 2021-06-30 DOI: 10.31577/sd-2021-0012
Marek Slovák
{"title":"PRVNÍ SLOVENSKÝ HOROR?","authors":"Marek Slovák","doi":"10.31577/sd-2021-0012","DOIUrl":"https://doi.org/10.31577/sd-2021-0012","url":null,"abstract":"","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"28 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134011581","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
PRIVLASTNENÝ FILM – FILMOVÝ ARCHÍV, HISTÓRIA, (POST)AVANTGARDNÉ PRÍSTUPY
Slovenske divadlo /The Slovak Theatre Pub Date : 2021-06-30 DOI: 10.31577/sd-2021-0011
Martin Palúch
{"title":"PRIVLASTNENÝ FILM – FILMOVÝ ARCHÍV, HISTÓRIA, (POST)AVANTGARDNÉ PRÍSTUPY","authors":"Martin Palúch","doi":"10.31577/sd-2021-0011","DOIUrl":"https://doi.org/10.31577/sd-2021-0011","url":null,"abstract":"","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122606740","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
ČO SI O AUDIOVIZUÁLNOM FONDE A RTVS MYSLIA PRODUCENTI?
Slovenske divadlo /The Slovak Theatre Pub Date : 2021-06-30 DOI: 10.31577/sd-2021-0013
Miroslav Vlček
{"title":"ČO SI O AUDIOVIZUÁLNOM FONDE A RTVS MYSLIA PRODUCENTI?","authors":"Miroslav Vlček","doi":"10.31577/sd-2021-0013","DOIUrl":"https://doi.org/10.31577/sd-2021-0013","url":null,"abstract":"Abstrakt: Štúdia je analýzou poľa slovenského distribučného dokumentárneho filmu. Vychádza z desiatich rozhovorov s producentmi, ktoré boli realizované v rokoch 2018 a 2019. Ponúka klasifikáciu producentov podľa ich primárneho zamerania, pričom sa snaží vysvetliť motivácie režisérov k produkcii ich vlastných dokumentárnych filmov, aj k opusteniu tohto zámeru a presunu k produkcii cudzích projektov. Súčasťou štúdie je tiež analýza postojov producentov voči dvom najvplyvnejším inštitúciám v poli: Audiovizuálnemu fondu a Rozhlasu a televízií Slovenska. V závere autor predstavuje model poľa slovenského distribučného dokumentárneho filmu a trajektórie, ktoré producenti od svojho vstupu majú: získavanie a upevňovanie pozícií s väčšou autonómiou, zaujímanie postavenia v inštitúciách v poli, zotrvanie v okrajových pozíciách a voľbu menej štandardných taktík. Kľúčové slová: dokumentárny film, Audiovizuálny fond (AVF), Rozhlas a televízia Slovenska (RTVS), producenti, produkcia, teória polí, Pierre Bourdieu","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121394466","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
PERZEKÚCIA ŽIDOVSKÉHO OBYVATEĽSTVA A HOLOKAUST V POVOJNOVEJ SLOVENSKEJ KINEMATOGRAFII
Slovenske divadlo /The Slovak Theatre Pub Date : 2021-06-30 DOI: 10.31577/sd-2021-0009
Štefan Timko
{"title":"PERZEKÚCIA ŽIDOVSKÉHO OBYVATEĽSTVA A HOLOKAUST V POVOJNOVEJ SLOVENSKEJ KINEMATOGRAFII","authors":"Štefan Timko","doi":"10.31577/sd-2021-0009","DOIUrl":"https://doi.org/10.31577/sd-2021-0009","url":null,"abstract":"Abstrakt: Cieľom príspevku je mapovať evolúciu slovenských filmov venujúcich sa témam holokaustu a perzekúcie židovskej menšiny v 20. storočí. Hoci približuje široký záber relevantných hraných (a okrajovo i dokumentárnych) filmov, ťažiskovými analyzovanými dielami sú hrané filmy slovenských tvorcov, v ktorých je problematika holokaustu ústrednou témou − Námestie svätej Alžbety (1965), Obchod na korze (1965), Nedodržaný sľub (2009) a Správa (2020). Práca sa snaží hľadať inšpiračné zdroje týchto filmov, skúma posuny medzi ich finálnou podobou a literárnymi predlohami a zamýšľa sa aj nad ich miestom v kontexte slovenskej i globálnej kinematografie. Štúdia sa tiež zaoberá príčinami absencie filmových diel s touto tematikou v určitých obdobiach slovenských povojnových dejín. Kľúčové slová: slovenská kinematografia, holokaust, perzekúcia židovského obyvateľstva, cenzúra","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129209018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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