Jonssonová, Pavla. Devět z české hudební alternativy osmdesátých let
Review of: Jan Barta - JONSSONOVÁ, Pavla. Devět z české hudební alternativy osmdesátých let. Praha : Karolinum, 2019, 218 s. ISBN 978-80-246-4328-1
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Review of: Jan Barta - JONSSONOVÁ, Pavla. Devět z české hudební alternativy osmdesátých let. Praha : Karolinum, 2019, 218 s. ISBN 978-80-246-4328-1
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Th e four four-part hymn adaptations in a manuscript Slovak Lutheran hymnbook without title page (SK-Mms, B III/107) are among the few documented examples of choir adaptations of Slovak hymns in the 17th century. Th is source, of Central Slovakian provenance, which has not been known hitherto, documents liturgical singing by Slovaks in one of the church choirs of that region at the close of the 17th century.
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Gáfriková, Gizela (ed.): Posledné veci človeka. Štúdie k dejinám slovenskej duchovnej kultúry 17. – 18. storočiaBratislava : Veda, vydavateľstvo Slovenskej akadémie vied, 2010, 255 s. ISBN 978-80-224-1124-0
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Over the 20th century, Slovak professional acting, in sense of conscious and purposeful dramatic work, undergone enormous development. It was not yet formed although we can speak about the Slovak theatre, or theatre using Slovak language during their production at the beginning of this historical period. The theatre production was carried by amateur acting companies, trying to imitate the performances known from their visits to big cities of then monarchy or touring professional „comedians”, mostly of Hungarian but also Czech and German origin. For a convinced follower of psychological realism and the founder of Slovak professional theatre Ján Borodáč, , the artistic supreme objective was to teach an actor to understand the inner world of depicted character, use the talent available and the expression of actors to create individualized dramatic character. Borodáč’s successors, the directors Ján Jamnický and Ferdinand Hoffmann exceeded these limits of psycho-realistic theatre and further experimented with stylization, pathos of musical language and speech. In the sixties and seventies already differentiated institutionally, Slovak theatre undergone the period of considerable interest in work in experimental conditions of experimental studio theatre where the audience became a contact eyewitness of the act of transformation of an actor. At the end of the twentieth century, the rapid modernization of means of dramatic expression, showing a maximum concentration on detail, authenticity and spontaneity took place in the Slovak theatrical context. The actor no longer represents only the role assigned, but performs it anti-illusively and brings his own opinions into the interpretation puts and thus participates in dramaturgic and directorial concept of the production. The author of the study perceives this development as contradictory. He draws attention to the risks arising from this fashion acquired even by those actors who are not able to be the intellectual partners of an author, dramatic adviser and director and in such cases are their authorial inputs rather forced and unsubstantial.
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In the 19th century, the period of intensive contacts between the West and Japan was renewed. This situation led to a mutual enrichment of both cultures, especially in the field of arts, but (especially on the side of Japan) also in politics and economics. Two waves can be identified in the process of reintroduction of Japanese culture to the West until the continuous reciprocal cultural exchange as we know it after World War II. Fascination of Europe with the Japanese woodcraft (since 1862) that influenced Impressionism and later Art Nouveau can be identified as the first wave, the second wave is characterised by broader familiarity with Japanese culture and literature due to the fact that more and more Westerners mastered the secrets of the Japanese language and the first translations into the European languages appeared (the period of fin de siècle - the turn of the 20th century). Noh theatre emerged in the West as part of the second wave. As early as in 1899, the West again gained the opportunity to get familiar with the Japanese performing arts. It was during the U.S. and European tour of actor Kawakami Otojiró (1864 - 1911) who owned a private theatre Kawakami, and his wife, a former geisha Sadayakko (1871 - 1946), one of the first female actresses in modern Japan. Europe began to realize the authentic form of Noh. In London, the increase in popularity of Noh can be traced into the crucial moment, when a young American poet Ezra Pound (1885-1972,) came here in 1908 longing to get to know the Irish poet W. B. Yeats (1865-1939). Western authors appreciated how the Japanese Noh combines drama, music and dance into the monolithic whole and they considered mask an excellent means of an „alienation effect”, leading the spectators to feel separated from the events on stage and giving them an opportunity to think about the deeper meaning of events. Analysing the history of Noh in the West, we note two milestones, two points in this development which brings in mind two ends of Monet’s Pont Japonais (Japanese Bridge) in his garden in Giverny, stretching over the century of its naturalization in the West. One is the work of William Butler Yeats at the beginning of the 20th century and – a century later, Jannette Cheong’s work, the latest piece of the Western Noh. Both were written in English and premiered in London - the former at then in vogue art salon in April 1916 and the latter at London’s Southbank in December 2009.
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Review of: Mišo A. Kováč - Dagmar Podmaková: Príbeh divadla /Divadlo, ktoré nezaniklo/, Slovenské komorné divadlo Martin, 2009, 252 s.)
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Using new archival material, the study explores Frank Wollman’s plays staged by the Slovak National Theatre in Bratislava in the 1920s. Recognised as a Czech expert in Slavonic studies, he lectured at the Faculty of Arts of Comenius University in Bratislava. In the early years of his professional career, he presented himself as a “manifestly Czechoslovak” dramatist, whose drama Bohokrál (1921) [The Godking] published in book form portrayed Alexander the Great. The ideas of Czech and Slovak togetherness were conveyed through the Great Moravia theme in his historical tragedy Rastislav (1922). His Člun na moři (1924) [A Boat at Sea], a “human grotesque and political utopia” juxtaposing opposing human types, got a particularly keen public response. Overall, Wollman’s dramas reflected on major social conflicts, and by putting emphasis on moral ethos, they were intellectual in nature. They linked expressionist elements with the tradition of classical realistic drama. Even though the plays were not included in the basic repertory of the Slovak National Theatre when first staged, they have remained a witness of the author’s artistic formation as well as of the dramaturgy of SND.
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Using the example of three films spanning different historical periods, the study provides an analysis of the creative potential of a compilation film. In its first part, the study contemplates the juxtaposition of current events within the concept of a critical compilation film by Henri Storck Histoire du soldat inconnu [Story of the Unknown Soldier, 1932], while in the second part, the study scrutinises an avant-garde approach to the juxtaposition of archival materials employing the found footage concept of A Movie (1958), film by Bruce Conner. In its third part, the study provides an analysis of the juxtaposition of acted scenes as a principle of a successive narrative within the concept of the film Final Cut: Hölgyeim és uraim [Final Cut: Ladies and Gentleman, 2012] by György Pálfi.
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Review of: Štefan Timko - PREDMERSKÝ, Vladimír a kolektív: Dejiny slovenskej dramatiky bábkového divadla. Bratislava : Divadelný ústav, 2020. 854 s. ISBN 978-80-8190-061-7.
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This study focuses on the first Slovak feature-length film Jánošík (1921) by the Siakeľ brothers. It conducts a historical analysis of the birth of the film and its anchorage in the socio-cultural context. At the turn of the nineteenth and the twentieth centuries and in the first quarter of the twentieth century, there were two crucial works that influenced the Jánošík film. Firstly, it was the novel Jánošík, kapitán horských chlapcov, jeho búrlivý život a desná smrť (Jánošík, the Captain of Mountain Lads, His Tumultuous Life, and Horrible Death, 1894) written by Gustáv Maršall-Petrovský. Although the film makers openly declared that the screenplay, written by Jozef Žák-Marušiak, was based on this novel, it is obvious that the plot of the film does not agree with that of the novel and that its other influential source was Jiří Mahen’s play Jánošík (1910), whose plot was adopted by the film a lot more prominently. Nevertheless, the author traces several common elements in the film and the novel, which he finds in the specific modernistic element in these two adaptations of the legend of Jánošík.
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The study deals with the dramatic works of a writer, professor of the Evangelical Lyceum of the Augsburg Confession in Pressburg, Tobias Gottfried Schröer. As a citizen of German descent striving to avoid the harsh censorship of the time, between 1820 and 1849, he published his works under various pseudonyms. Under his real name, he published only textbooks and three compendia intended for the Lyceum students. In Germany (Leipzig, Hamburg, etc.), he was quite a well-known writer; his short stories, poems and plays were published in various almanacs and collections. His drama work is almost unknown, and the number of his plays (existing as primary sources, including those that are only referred to), we estimate at fifteen so far. They were written approximately between the years 1806 and 1846, which testifies to their author’s lifelong interest in theatre and story dramatizations. A historical drama Leben und Thaten Emerich Tokoly’s und seiner Streitgenossen [The Life and Deeds of Emerich Tököly and His Comrades-in-arms by A. Z.] (1839), published in Leipzig under the pseudonym of A. Z., and a comedy Der Bär [The Bear] (1830) can be considered the most important.
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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.
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In the history of the dramatic arts, it is a frequent phenomenon that characters of one sex are played by actors of the opposite sex. This phenomenon is found in cultures all over the world, with its roots probably lying in the spiritual practices of ancient cultures. The term drag, based on Polari language, is currently used to name this practice. In the light of the theories associated with rituals, the mask, and the concept of liminality, it can be stated that a person who is in drag is entering a liminal phase between the masculine and feminine worlds. This state allows the person to free himself/herself from gender stereotypes that limit the freedom and authenticity of personal expression. The intention of this paper is to present the historical development of drag and its function in human society and in the dramatic arts environment. The issue of drag in the dramatic arts has been mostly marginalised in scientific literature. The occasional works that have dealt with it have mostly not traced the distinct nature of individual manifestations, but have examined drag as an internally homogeneous phenomenon. Our work presents an internal classification of drag in the dramatic arts, with an ambition of better understanding the individual manifestations of drag, tracing their historical development and their socio-artistic function.
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Review of: VLADIMÍR POTANČOK - VILIAM KLIMÁČEK: Beat (Kniha útekov) [Beat (Book of Escapes)] Marenčin: PT, 2021, 224 s. VLADIMÍR POTANČOK - ZUZANA HOMOLOVÁ: Francúzsky rok [French Year] Mladé topole, 2021, 184 s.
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The study draws attention to the issue of the sacralization of Christian architecture. This topic – essential for research into ecclesiastical architecture – is analysed from several viewpoints. The chief questions asked are: What process was followed for the sacralization of buildings which served Christians for gatherings and worship? How far back is it possible to speak about Christian sacred architecture? These questions naturally lead back to the very beginnings of Christianity and Christian architecture. Great attention is dedicated to the special liturgy of consecrating churches as a ritual means for the sacralization of a specific place and building. Ultimately, the final section focuses on an analysis of the thesis according to which, in the Middle Ages, wooden churches in our territory could not be consecrated, only blessed, with the consequence that they supposedly could not serve as parish churches.
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This paper addresses the issue of Romanesque sculpture and presents it by means of describing the ensemble of masks preserved in the Romanesque, partially reconstructed, church dedicated to the Name of the Blessed Virgin Mary, a symbol of Inowrocław. This text addresses the well-known sculptures analysed from a contemporary research and methodological perspective in respect of the history of medieval art. Artistic analogies, aesthetic sources, and the practice of ornamenting the Houses of God with stone masks have been presented and new interpretations of iconography, form, and meaning have been discussed. Issues concerning artistic geography, style, significance, law of the frame and technique have been considered and compared.
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The medieval Franciscan monasteries of Bratislava (Slovakia) and Sopron (Hungary) are important representants of the Gothic architecture of the former Hungarian Kingdom. An extensive research executed between 2013 and 2017 has proven that the construction of their towers was closely related to the workshop of the Stephanskirche, Vienna; and that they are important milestones in the evolution of the Gothic spires, with significantly earlier construction date as it is widely accepted in the literature. This article is based on the corresponding parts of the author’s PhD thesis defended in 2017.
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The reconstruction of St Maurice in Olomouc was one of the most important building projects in late medieval Moravia. Research assumes that the work began in 1415 and continued, with several interruptions, into the late 15th century. This paper wants to critically examine the dating of the choir as eastern part of the parish church parish church between 1453 and 1483/1492. It approaches the building enterprise with a detailed analysis of the stylistic, typological and archaeological findings and highlights the dynamics behind the outlined designs. Especially the ambitious and, for this region, unusual designs share far-reaching artistic connections with important centers such as Wrocław, Brno and Vienna. Therefore, this paper proposes that the project`s exceptional value is imbedded in Central Europe’s architectural history.
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The authors reflect on the phenomenon of border crossing in intermedia theories. At the same time, they test a possible form of its functioning in a concrete situation, in the Austrian director Gustav Deutsch’s film Shirley: Visions of Reality (2013), which provides ideal scope for the interpretive exploration of the relationships between several types of media by the re-mediation of some of the artworks of the American painter Edward Hopper. The film stages the situations depicted in some of Hopper’s paintings that evoke a suspended camera shot of a staged theatrical situation. The intermedia references of the scenes offer an opportunity to ponder not only the questions of how visual codes remain present in the film, to what extent the authorial poetics of the original paintings is respected, and to what extent the language of the film transforms the dispositions of the language of fine art, but also open up debates about intermedia relations and interdisciplinary overlaps in the broader contexts of visual culture. The authors carry out this cautious probe into the already extensive and diverse space of intermedia theories predominantly through the German theorist Irina O. Rajewsky (Intermedialität, 2002), who was among the first to process the phenomenon of border crossing within the framework of a fundamental and, up to that time, most systematic review of intermediality (as a term, theoretical concept, artistic strategy, and methodology in humanities) against the backdrop of intertextuality and historically related concepts.
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With globalization, transformations experienced in the postmodern era have been observed simultaneously or almost simultaneously in nearly all parts of the world; thus, like in other countries, artistic transformations have also manifested themselves in Slovakia and Turkey with increased communication and transportation opportunities with the West. This study focuses on how the method of appropriation, which gained significance with postmodernism following its pioneers in the modern era, emerged, and developed in Slovakia and Turkey. This study, starting from the belief that the desire of postmodernism to resolve the concepts of centre-periphery was not fulfilled, addresses the dominance of Western art in the field of art and the necessity to diversify this reference point by considering that there are other arts besides Western art, which is mainly seen as the sole reference in art research worldwide. The two countries that appear to have completely different outlooks regarding the perspective of the beginning of artistic transformation and the use of appropriation have occasionally produced similar topics, especially during the 1990s. However, due to the different social structures of these two countries, differences have also been observed during this period.
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