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Slovenske divadlo /The Slovak Theatre最新文献

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With the Litle Help from Janis Joplin 在詹尼斯·乔普林的小小帮助下
Slovenske divadlo /The Slovak Theatre Pub Date : 2018-12-01 DOI: 10.2478/sd-2018-0025
P. Michalovič
{"title":"With the Litle Help from Janis Joplin","authors":"P. Michalovič","doi":"10.2478/sd-2018-0025","DOIUrl":"https://doi.org/10.2478/sd-2018-0025","url":null,"abstract":"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.","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"103 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127794368","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
Theatre Performance of Radichkov’s Play an Attempt at Flying in the Jubilee 60th Season of the Slovak National Theatre 拉奇科夫的戏剧《飞翔的尝试》在斯洛伐克国家剧院六十周年演出季的剧场演出
Slovenske divadlo /The Slovak Theatre Pub Date : 2018-12-01 DOI: 10.2478/sd-2018-0021
D. Podmaková
{"title":"Theatre Performance of Radichkov’s Play an Attempt at Flying in the Jubilee 60th Season of the Slovak National Theatre","authors":"D. Podmaková","doi":"10.2478/sd-2018-0021","DOIUrl":"https://doi.org/10.2478/sd-2018-0021","url":null,"abstract":"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).","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133474016","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
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 19世纪末约瑟夫·埃切加雷戏剧作品《大加莱托》在欧洲的传播及其在布拉迪斯拉发的接待
Slovenske divadlo /The Slovak Theatre Pub Date : 2018-12-01 DOI: 10.2478/sd-2018-0020
Jana Laslavíková, Beatriz Gómez-Pablos Calvo
{"title":"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","authors":"Jana Laslavíková, Beatriz Gómez-Pablos Calvo","doi":"10.2478/sd-2018-0020","DOIUrl":"https://doi.org/10.2478/sd-2018-0020","url":null,"abstract":"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 Galeoto55, 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».","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120821222","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
Possiblities and Limitations of Translation of Slovak Drama Into Polish Culture 斯洛伐克戏剧向波兰文化翻译的可能性与局限
Slovenske divadlo /The Slovak Theatre Pub Date : 2018-12-01 DOI: 10.2478/sd-2018-0024
Lucyna Spyrka
{"title":"Possiblities and Limitations of Translation of Slovak Drama Into Polish Culture","authors":"Lucyna Spyrka","doi":"10.2478/sd-2018-0024","DOIUrl":"https://doi.org/10.2478/sd-2018-0024","url":null,"abstract":"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.","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130252180","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
Theatrical Mise-En-Scene In Film Form 电影形式的戏剧场景
Slovenske divadlo /The Slovak Theatre Pub Date : 2018-09-01 DOI: 10.2478/sd-2018-0017
J. Sabol
{"title":"Theatrical Mise-En-Scene In Film Form","authors":"J. Sabol","doi":"10.2478/sd-2018-0017","DOIUrl":"https://doi.org/10.2478/sd-2018-0017","url":null,"abstract":"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.","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"142 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128563604","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: 5
Imagine the Utopia! Rethinking Alain Badiou’s Theatre-Politics Isomorphism 想象一下乌托邦!再思考巴迪欧的戏剧-政治同构
Slovenske divadlo /The Slovak Theatre Pub Date : 2018-09-01 DOI: 10.2478/sd-2018-0019
Jan Motal
{"title":"Imagine the Utopia! Rethinking Alain Badiou’s Theatre-Politics Isomorphism","authors":"Jan Motal","doi":"10.2478/sd-2018-0019","DOIUrl":"https://doi.org/10.2478/sd-2018-0019","url":null,"abstract":"Abstract The presented article is a polemic with Alain Badiou’s concept of theatre-politics isomorphism. The author adapts the basic elements of Badiou’s philosophy (event, void Ø, truth etc.), provides an interpretation of his theory of theatre and presents crucial critical arguments to reveal the reductionism of Badiou’s philosophy. Subsequently, the author presents his alternative theory of theatre based on this ground. The article assumes that theatre performance is a live, truthful event, an encounter of humans experiencing an imagined Utopia based on their structural homology (shared materiality, phylogenetic archetypal memory, existentiality). The argument is supported by the recent research in neuroscience. As the article argues, this Utopia has its social and political significance. The theatre is not political only if it constructs both a political body (crowd, public) and a discourse, as Badiou suggests. The author concludes that theatre is inherently political because its imaginative nature, which allows humans to experience the utopical attachment exceeding the subject-object boundaries. This imagined Utopia with its critical and anticipative power allows people to transcend their singularity to interpersonal and intercultural dialogue and universality, and it provokes their political imagination (in the sense of David Graeber). The author employs Erika Fischer-Lichte’s concept of performativity to present theatre performance as an event.","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"34 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120857310","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
Alexander Dubček Twice – An (Un)Known Side of Him 亚历山大·杜布<e:1>克两次——他为人所知的一面
Slovenske divadlo /The Slovak Theatre Pub Date : 2018-09-01 DOI: 10.2478/sd-2018-0015
D. Podmaková
{"title":"Alexander Dubček Twice – An (Un)Known Side of Him","authors":"D. Podmaková","doi":"10.2478/sd-2018-0015","DOIUrl":"https://doi.org/10.2478/sd-2018-0015","url":null,"abstract":"Abstract The authoress, using two visual works, i.e. theatre production #dubček and film Dubček (both 2018), compares two different approaches to and forms of the work with the personality of Alexander Dubček against the backdrop of the reforms and political upheaval in Czecho-Slovakia1, in 1968. Theatre production #dubček (Aréna Theatre, Bratislava, direction Michal Skočovský) has three levels. The first one is acting game having the form of a rehearsal of a new text about the politician Alexander Dubček; its component part is the projection of period archival film shots. The second level involves the actors stepping out of characters and commenting on Dubček’s attitude and on historical events. The third level entails monologue scenes, in which actors reveal their personal attitudes via narrated stories at the time of normalization2 which had a negative impact on the lives of hundreds of thousands of people. In the film Dubček (Slovak-Czech co-production, direction Ladislav Halama), through Dubček’s reminiscing the past, political events interweave with the scenes from the life of Dubček’s family. Although both the works employ period image documentary material and fiction, they fail to create a dramatic conflict and they are illustrative for the bigger part.","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"313 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133305361","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: 1
Play as Art of Survival 把游戏当成生存的艺术
Slovenske divadlo /The Slovak Theatre Pub Date : 2018-09-01 DOI: 10.2478/sd-2018-0018
Dáša Čiripová
{"title":"Play as Art of Survival","authors":"Dáša Čiripová","doi":"10.2478/sd-2018-0018","DOIUrl":"https://doi.org/10.2478/sd-2018-0018","url":null,"abstract":"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.","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128397035","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
The Interpretation of the Authorial Creation of Vladimir Vysotsky on Contemporary Moscow Stages 弗拉基米尔·维索茨基在当代莫斯科舞台上的创作解读
Slovenske divadlo /The Slovak Theatre Pub Date : 2018-09-01 DOI: 10.2478/sd-2018-0016
Zuzana Spodniaková
{"title":"The Interpretation of the Authorial Creation of Vladimir Vysotsky on Contemporary Moscow Stages","authors":"Zuzana Spodniaková","doi":"10.2478/sd-2018-0016","DOIUrl":"https://doi.org/10.2478/sd-2018-0016","url":null,"abstract":"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.","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115153389","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
Controversies of the Mai 68 Opera in Philosophical Contexts of Actual Opera Production 麦68歌剧在实际歌剧生产哲学语境中的争议
Slovenske divadlo /The Slovak Theatre Pub Date : 2018-06-01 DOI: 10.2478/sd-2018-0012
Jozef Cseres
{"title":"Controversies of the Mai 68 Opera in Philosophical Contexts of Actual Opera Production","authors":"Jozef Cseres","doi":"10.2478/sd-2018-0012","DOIUrl":"https://doi.org/10.2478/sd-2018-0012","url":null,"abstract":"Abstract In his paper, the author reveals the poetical controversies of the Mai 68 opera (2008) by Petr Kofroň, Zdenek Plachý and Jiří Šimáček as well as its controversial reception by Czech opera critics. Comparing the poetical principles of the mentioned authors with those applied in stage works by Morton Feldman, Martin Burlas and John Zorn, and arguing with the philosophical concepts of Gilles Deleuze and Félix Guattari and actual concepts of postmodern aesthetics, he outlines the poetical features of current opera production in the context of actual philosophical thought and intermedia aesthetics. In this broader framework, in spite of some defects in staging, he considers Mai 68 a very real and influential contribution to the opera world in Czech Republic and Slovakia, comparable with the contemporary opera works worldwide.","PeriodicalId":253484,"journal":{"name":"Slovenske divadlo /The Slovak Theatre","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122685214","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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