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PETER EISENBERG: DVOJITÝ BÁSNICKÝ AKT A DUCHOVNÁ HRA (1651). TEXT PROTESTANTSKEJ ŠKOLSKEJ HRY V DOBOVOM KONTEXTE

Author(s): Miroslav Varšo / Language(s): Slovak Issue: 02/2015

The school play written by the German author Peter Eisenberg in 1651 has enjoyed great attention by scholars from various disciplines in the last few decades. Excellent studies prove the excellence of this theatrical act. The present study expands the current state of research by offering a close reading of the text with a view to revealing the thinking of the time and the source of Peter Eisenberg’s inspiration. It was theology, closely connected with the Holy Scripture in the Protestant milieu, the works of church fathers and confessions. The play is accompanied by music produced by prominent composers of the time, which significantly contributes to its appeal. The play and its rich inner life have the potential to appeal also to contemporary readers,on condition that they understand the symbolism of the time.

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ZAPOMENUTÝ ORFEUS. K PROBLEMATICE ZŘÍDKA UVÁDĚNÝCH OPER S ORFEOVSKOU TEMATIKOU

Author(s): Miroslava Trávničková / Language(s): Slovak Issue: 02/2015

This text offers a historical probe into the history of operas with an Orpheus theme. It maps out the individual epochs and introduces works which do not have an extensive tradition of reception and their productions appear in the repertoires of theatres only occasionally. The focus is especially on the period of Baroque where operas with an Orpheus theme are most heavily represented, and on 20th-century operas. On the other hand, this study does not pay attention to 19th-century opera because this mythological theme is not present in it. The exploration of the tradition of interpreting the mentioned opuses includes examples of contemporary productions.

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JÁN CIKKER A JEHO ANTIGONA

Author(s): Klára Škrobánková / Language(s): Slovak Issue: 02/2016

This study deals with the unfinished libretto Antigona [Antigone] by a Slovak composer Ján Cikker (1911–1989). In the libretto, Cikker adapts Sophocles’ tragedy, but he also adds some elements that one can identify as references to the politics of the period, typical for the late 1980s. By employing a comparative analysis of the source text and the libretto adaptation, the author describes methods used by Cikker to maintain the ideas of the original text and at the same time to emphasize the common features of the operatic genre. A libretto is perceived here as a fully-fledged text capable of its own independent existence, which can satisfy the audience both as a literary and dramatic text. In addition, Antigone is compared to the other operas by Ján Cikker in order to find the key features of the author’s work.

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SOUNDTRACKY, SOCIOKULTURNÍ FENOMÉN NA POMEZÍ HUDEBNÍHO A FILMOVÉHO PRŮMYSLU

Author(s): Jan Švábenický / Language(s): Slovak Issue: 04/2014

This study analyzes and examines film music and soundtracks on example of selected categories of popular genres of Italian cinema in the period of 60‘s – 70‘s. In the middle of interpretative interest there are trans-genre, sociocultural and industrial meanings and discourses of Italian film music as a firm part of popculture where had soundtracks new importance during the transformation of popular Italian culture in this period. Text interprets new compositional methods of Italian film composers, cultural and industrial relations among music labels, film production companies and especially popcultural connections of film music with particular popular genres of Italian cinema of 60‘s – 70‘s with taking into account the periods of 50‘s, 80‘s and 90‘s. Study puts emphasis on categories of popular genres that were in main industrial discourse of Italian cinema in 60‘s – 70‘s as western all‘italiana (western in Italian style), erotico all‘italiana (erotic film in Italian style), musicarello all‘italiana (musical films in Italian style) etc.

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Učebnica elementárnej náuky o hudbe Melanie Diettmannovej v kontexte dobovej výučby hudby

Author(s): Andrej Čepec / Language(s): Slovak Issue: 1/2017

Elementar Unterricht (Fundamentals of Teaching), a manuscript textbook of music by Melanie Diettmann, is a type of handbook which preserves the method of teaching the elements of music used on the territory of Slovakia during the first half of the 19th century. This textbook is documentary proof of an increased interest in acquiring music education on the part of educated town-dwellers, having regard to the upbringing of girls and young ladies. The paper presents the textbook in the context of music teaching in Slovakia in the 19th century, and also in the context of the creation of didactic works. Reflected in it is the influence of music textbooks by B. Asioli and F. P. Rigler, among others, which could serve as models for the elaboration of the manuscript examined here.

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Mária Potemrová a hudobná regionalistika

Author(s): Jana Lengová / Language(s): Slovak Issue: 1/2017

Mária Potemrová (1922 – 2015) is regarded as the Nestor of musicology in the east Slovakian city of Košice, where she spent her entire life. Originally she completed studies at the University of Commerce; later, as an external student she graduated in musicology from Comenius University in Bratislava (1954 – 1959). At the Conservatory in Košice (1956 – 1986) she taught history of music and musical aesthetics, and she stressed the need for a complex musical education. As a music historian she specialised in musical regionalistics, specifically on the musical culture of eastern Slovakia and most especially of the city of Košice. Apart from her key monograph Hudobný život v Košiciach v rokoch 1848 – 1918 (Musical Life in Košice from 1848 to 1945), published in 1981, she also produced important works on music education in Košice, on the music history of the towns of Prešov, Rožňava and Bardejov, and on several composers (O. Hemerka, K. Hodytz, J. Grešák). She was also active as a publicist and in organisational and editorial activity.

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Andrea Kovács: Monuments of Medieval Liturgical Poetry in Hungary. Sequences – Critical edition of melodies. Musica Sacra Hungarica 1

Author(s): Eva Veselovská / Language(s): Slovak Issue: 2/2017

Review of: Andrea Kovács: Monuments of Medieval Liturgical Poetry in Hungary. Sequences – Critical edition of melodies. Musica Sacra Hungarica 1 Liszt Ferenc Academy of Music – Church Music Research Group – Argumentum Publishing House, Budapest 2017, 735 s. ISSN 2498-9185. ISBN 978-963-7181-55-9

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Rodový aspekt vo výskume ľudovej piesňovej kultúry na Slovensku

Author(s): Hana Urbancová / Language(s): Slovak Issue: 1/2016

In Slovakia gender studies are among the least developed research areas in ethnomusicology. The gender aspect has, however, been integrated into the majority of Slovak works devoted to folk song, music and dance tradition. It has become part of several research themes and circles, where its role has been that of a partial standpoint. This study summarises the results thus far of the application of the gender aspect in selected research circles (genres, multi-part singing, dance types). Special attention is given to studies on women in traditional song culture, which began to appear in Slovakia from the turn of the 1980s, focused on tradition bearers, song genres and mental images.

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Svetový kongres medzinárodnej spoločnosti pre rómske štúdiá Gypsy Lore Society, Bratislava, 11. – 13. septembra 2014

Author(s): Jana Belišová / Language(s): Slovak Issue: 1/2015

Na jeseň minulého roka sa v Bratislave uskutočnil svetový kongres medzinárodnej spoločnosti pre rómske štúdiá Gypsy Lore Society. Táto medzinárodná spoločnosť vznikla vo Veľkej Británii v roku 1988 a združuje odborníkov na rómske štúdiá z celého sveta. Konferencia bola rozčlenená do niekoľkých tematických panelov, ktoré sa venovali Rómom z pohľadu rôznych vedeckých disciplín. V jednotlivých paneloch sa prispievatelia venovali historickým pohľadom a perspektívam, oblasti vzdelávania, sociálnym problémom, štátnej politike v prístupe k Rómom i témam z oblasti kultúry a náboženstva.

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Diecézny archív v Nitre a neznáme liturgické rukopisy z 15. a 16. storočia

Author(s): Eva Veselovská,Marek Ďurčo / Language(s): Slovak Issue: 1/2013

In the assessment of liturgical musical codices from the territory of Slovakia dating from the medieval period and the early modern period, the town of Nitra has a special status. From Nitra’s church institutional funds only one liturgical manuscript has been preserved in its original place – the Nitra Codex from the 12th century (ekphonetic symbols, elements of German adiastematic neume notation). From the subsequent period (12th to 16th centuries) religious books with notation have not been preserved. All the more surprising, then, is the discovery of 7 antiphonary fragments from the turn of the 16th century with the Esztergom notation system in the Nitra Diocesan Archive, which is one of the oldest church archives in the Slovak Republic. On account of the historic status of the Nitra diocese and its church archive, we regard the finding of these fragments as an exceptional discovery in the field of medieval musical research in Slovakia.

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Jana Belišová: Bašav, more, bašav. Zahraj, chlapče, zahraj : O piesňach slovenských Rómov

Author(s): Hana Urbancová / Language(s): Slovak Issue: 1/2013

Jana Belišová: Bašav, more, bašav. Zahraj, chlapče, zahraj : O piesňach slovenských Rómov. Bratislava : Žudro v spolupráci s Ústavom hudobnej vedy Slovenskej akadémie vied, 2012, 231 s. ISBN 978-80-970748-1-4

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THEATRICALITY OF FILM LANGUAGE IN BAZ LUHRMANN’S FILMS

Author(s): Michaela Malíčková,Juraj Malíček / Language(s): English Issue: 03/2020

The aim of the study is to identify such strategies that reveal the theatrical quality of film language in the movies of Australian director, screen writer, and producer Baz Luhrmann, and to examine how they reflect the development of his poetics as an auteur. Theatricality defines his first three film projects Strictly Ballroom (1992), Romeo + Juliet (1996) and Moulin Rouge! (2001), therefore they are together referred to as the so called Red Curtain Trilogy. The explication of ties to theatre that characterizes Luhrmann’s oeuvre reveals the connection between various types of stage, and staging, as well as the specific qualities and development of Luhrmann’s directorial style, and his understanding of film, and its language. Luhrmann’s film image is complex in the semiotic reading, each detail has an aesthetic, and semantic value often due to the disposition of film language. Luhrmann’s artworks remain in a number of cases saturated by his performative vision of the world. The degree and specific quality of film language such as ostension (manifested as illusionism, meticulously arranged mise-en-scène, and aestheticized sets, and costumes or pompous carnivalesque musical and dancing show), camp, and citations are closely examined in feature films such as Australia (2008) and The Great Gatsby (2013), in the series of short staged interviews between two icons of fashion world Schiaparelli and Prada: Impossible Conversations (2012) and in the TV series The Get Down (2016 – 2017). These cultural products also confirm their connection to theatre and their author’s interest in various stage forms reflecting on culture based on a play principle.

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DVE ŠTÚDIE ADOLPHA APPIU - RÉŽIA WAGNEROVSKEJ DRÁMY - AKO ZREFORMOVAŤ NAŠU RÉŽIU

Author(s): Miloš Mistrík / Language(s): Slovak Issue: 04/2020

The publication of a Slovak translation (by Martin Brtko) of two studies by Adolphe Appia: La mise en scène du drame wagnérien [The Staging of the Wagnerian Drama, 1895] and Comment réformer notre mise en scène [How to Reform Our Theatre Directing, 1904], with an introduction by Miloš Mistrík. This edition of Slovak Theatre is part of a project in which Appia´s book L´Oeuvre d´art vivant [The Work of Living Art, 1921] has already been published, Bratislava: VEDA, 2020, and the Slovak translation of the book Die Musik und die Inszenierung [Music and Staging, 1899] is under preparation.

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Women as Folk Song Collectors in Slovakia. From Romantic Nationalism to the Beginnings of Modern Research

Author(s): Hana Urbancová / Language(s): English Issue: 4/2021

Collecting activities were an important cultural and social phenomenon in 19th century Europe. Women also participated in these activities, although in many cultures their role and the results of their collecting work have not yet been adequately evaluated. Taking the example of Slovakia, it is possible to highlight the contribution of women in collecting folk songs, while encompassing those features which are specific to the regional circumstances. Women took part in all important collecting projects of the 19th century in Slovakia. Reconstruction of their socio-cultural background highlighted the fact that at the inception of these projects women of the aristocracy and gentry were active collectors. The majority of female collectors came from families of the Slovak intelligentsia, who belonged to the middle class. By the end of the 19th century many such families had become part of the contemporary elite of Slovak society. We focus on two research questions: 1, how did the gender category of the collector condition the record of song material (an aspect of the collection concept); and 2, what contribution did women’s collecting activities make to the study of traditional song culture (an aspect of the collected material). A definition of women’s concept of collecting, with primary orientation on song lyrics, was deduced from the 19th century preference for the national language and the role of Slovak women in its diffusion in private as well as public life, and from analysis of the genre structure of the collected material. The romantic concept of collecting in Slovakia is compared with an early concept of documentation at the beginning of the 20th century which derived from abroad, although some of its elements were beginning to take effect also in domestic collecting activities.

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Podoby nemecko-jazyčnej opernej kritiky v Prešporku okolo roku 1900. Stratégie, médiá, osobnosti

Author(s): Jana Laslavíková / Language(s): Slovak Issue: 02/2022

With a high demand for the social presentation of the bourgeoisie in the course of the nineteenth century, opera production in European public theatres and its reflection in the daily press experienced an unprecedented boom. This was the case in Pressburg, too, where opera enjoyed a prominent place in the repertoire of German- -language ensembles in around 1900. The Preβburger Zeitung and the Westungarischer Grenzbote dailies gave ample scope for the opera events of the Municipal Theatre and shaped the taste of the local audience through their reports and critiques. The most prominent opera critics included some central figures of social life in Pressburg: Ján Nepomuk Batka, Josef Thiard-Laforest, and Gustav Mauthner. Their texts reflected the developments in the opera and, at the same time, responded to the changing socio-political situation that brought about changes in theatre operations, too. In this way, opera criticism became a strategic tool for public discussions about the further course of theatre art in Pressburg.

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Mediálne reflexie profesionálnych začiatkov Edity Gruberovej na slovenských javiskách

Author(s): Stanislav Benčič / Language(s): Slovak Issue: 02/2022

This study maps the early career of the opera singer Edita Gruberová in Slovakia (1968 – 1970). The author draws primarily on the reflections of the first appearances of this extraordinary singer, which appeared in the domestic press (specialized periodicals, dailies) or in the bulletins published for the productions. The paper also offers a perspective on the state and standard of musical, or musicological, journalism in the late 1960s and introduces the work of music critics who presented an image not only about the singer, but also about Slovak opera, through reflections of the musical and dramatic events in the Slovak National Theatre and the Jozef Gregor Tajovský Theatre in Banská Bystrica. The author analyzes reviews and short journalistic texts with the aim to create a retrospective image that outlines the personalities, circumstances, occasions, and conditions in which this world-famous opera artist emerged. The study wants to complement the existing, mostly foreign, biographic monographs, studies, and media outputs that deal with the post-1970 career advancement of Edita Gruberová.

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Režijně-scénografická pojetí jevištního díla Claudia Monteverdiho v brněnských inscenacích

Author(s): Šárka Havlíčková Kysová / Language(s): Slovak Issue: 02/2022

This study deals with some of the Brno stagings of Claudio Monteverdi’s (1567 – 1643) musical scenic works. It devotes special attention to the legacy of the directorial school of the Czechoslovak opera director Miloš Wasserbauer (1907 – 1970), who was active mainly in Brno and, in the 1950s, also in Bratislava. The study is based on the research that focused on the stagings of Monteverdi’s works in the Czech lands from their first instances up to the present (2022). Since some of Monteverdi’s scenic works have recently been restaged, the author of this study asks what topics are presented to the audience through these works and what challenges these works pose, especially with respect to the directorial-scenographic concept. The first part of the study looks back at the twentieth century, when Czechoslovak theatre-makers first encountered Monteverdi; the second part deals with the present. Based on archival material on the stagings and interviews with witnesses and contemporary producers, the author introduces the possibilities of staging Monteverdi’s works depending on the changes in the awareness of, and ideas about, Baroque opera theatre and the period’s staging practices. She asks what topics or what motives are important for the producers when presenting these roughly four-hundred-year-old works to the contemporary audience.

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The Festival D’Avignon – A Shared Cultural Experience as a Way Forward

Author(s): Elena Knopová / Language(s): English Issue: 03/2022

This article is a reflection on the 76th edition of the Festival d’Avignon. It provides a brief introduction to the issue of festivalisation in France and presents the research conducted in this field in relation to theatre audiences in the past three years. It also includes shorter reflections on productions by international theatre makers that the author had the opportunity to see at the festival. It analyses the context in which these productions are presented to the public in the festival programme, in dramaturgical and thematic lines (for example, the themes of power, manipulation, sacrifice, defiance of fate, emotions that bind people together or make them go insane), and it also highlights the return of the theatre makers to the basic means of theatre expression instead of complex effects and technologies. There is an imbalance stemming from this: often, productions have an epic and storytelling non-dramatic basis, but their stage form goes back to a theatre of simple and effective images that are based on symbolic theatre signs and acting action. The Festival d’Avignon adheres to the concept of storytelling with initiatory potential and thus can engage theatrically in a better real world. In 2022, it was a post-pandemic challenge for both the theatre and society.

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Teatralizačné a performačné excesy slovenskej rockovej alternatívy v osemdesiatych a deväťdesiatych rokoch 20. storočia

Author(s): Július Fujak / Language(s): Slovak Issue: 02/2024

This paper is focused on alternative rock music in the 1980s and the 1990s in Slovakia. Within this field, the author concentrates on the specific area of the theatrical dimension of the concerts and music videos of various bands (Chór vážskych muzikantov, Karpatské chrbáty, Ľahká Múza, Bez ladu a skladu, Teória Odrazu, Jesus Underground Band, and Chiki liki tu-a). He interprets the eccentricities, bizarreness, and excesses of their poetics in the context of the theories of “culture from below” and “DIY culture”, as well as of defiance, criticism, and, especially, parrhesia (Michel Foucault) – open, direct speech, which is associated with various risks but, at the same time, allows one to acquire dignity. From the perspectives of music, visuals, and worldview, the eccentricities of alternative rock in the aforementioned period were expressions of inner freedom and the need for alternative articulations of a different way of life and a different artistic expression

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Populárna kultúra a nehmotné kultúrne dedičstvo v službe zmierenia: návrat srbskej etnológie a antropológie do verejnej sféry

Author(s): Miloš Milenković,Jelena Ćuković,Branko Banović / Language(s): Slovak Issue: 1/2024

The article presents research findings exploring modalities by which anthropology, as a critically oriented discipline emphasising identity deconstruction, can adopt an ethnological perspective on culture, tradition, and history as more appropriate in reconciliation processes in post-conflict regions. Previous investigations conducted in the Western Balkans context indicate that the ethnological perspective holds substantial potential to facilitate dialogue and cooperation among individuals with diverse and often conflicting views on cultural heritage. Within the framework of reorienting identity disputes and conflicts towards cooperation and development, this analysis underscores the significance of the ethnological-anthropological continuum in Serbian ethnology and anthropology. Combining the results of previous studies with the findings of ongoing theoretical and field research, this paper examines the potential of intangible cultural heritage (ICH) as a means of fostering cooperation and trust-building between communities. Special attention is devoted to aspects of shared ICH manifested through various forms of popular culture. In this context, the paper summarises ongoing ethnographic research conducted in Pljevlja, a Montenegrin town marked by identity tensions between local Serbs and Bosniaks/Muslims. The study highlights tamburitza music as a particularly significant segment of the town’s popular culture and cultural identity, positing it as having the capacity to initiate the much-needed dialogue and cooperation between these two cultural identities.

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