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HERECTVO V TEATRO TATRO

Author(s): Miroslav Balay / Language(s): Slovak Issue: 02/2014

In his paper, the author deals with the issues of acting in the context of the theatre company Teatro Tatro poetics. He focuses on the nature and typology of acting in its theoretical and generalizing form and is interested in unique variability of expression in acting, highly heterogeneous, flexible and wide-ranging. The author functionally categorizes acting primarily in terms of spatial dimension as well as thematic categories of character and directing. He pays attention to its entertaining nature in broader horizon.

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VÁŠNE V CORNEILLOVEJ DRÁME CID

Author(s): Anna A. Hlaváčová / Language(s): Slovak Issue: 02/2014

Based on the comparative analysis of two similar dramatic situations (Hugo: Les Misérables and Corneille: Le Cid), article questions how can they later develop in entirely different ways. In search for the better understanding argument narrows later to Corneille and concentrates on the ruptures in his versification – assuming that ruptures and silence have to do with respiration and as such they are the symptoms of passion. At the end of her article author concludes that in the case of Le Cid it is common to overvalue the storyline and dramatic process. But – while the conflict of passions in Corneille´s drama is omnipresent – author refuses to take habitual interpretation for granted and pointing to non-classicist traces of the drama, she suggests that in this drama, as in the most intense moments of life, we are called at the same time towards life and death.

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PUTOVANIE S ORFEOM

Author(s): Anna A. Hlaváčová / Language(s): Slovak Issue: 02/2014

Nadväzujúc na myšlienku inscenácie Sul concetto di volto nel Figlio di Dio (O koncepte tváre Božieho syna), uvedenej v minulom roku vo Viedni, rozvíja Romeo Castellucci myšlienku tela a tváre aj vrámci svojho nového diela. Diptychon pozostáva z dvoch spracovaní mytologického príbehu Orfea a Eurydiky. Gluckovu operu z roku 1762 uviedol festival Wiener Festwochen a Berliozovu adaptáciu z roku 1859 bruselská opera La Monnaie. Nasledujúce riadky budú venované viedenskej inscenácii.

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POST-TRADITIONAL PUPPETEERS, OR FROM UNDER THE TENT TO THE UNDERGROUND (THE PRODUCTION OF THE SLOVAK MARIONETTE THEATRE AND THE DEZORZ PUPPET THEATRE)

Author(s): Elena Knopová / Language(s): English Issue: Special/2014

This study deals with the production of the Slovak Marionette Theatre as an expression of post-traditional puppet theatre in Slovakia and with the Dezorz Puppet Theatre, an exceptional alternative puppet theatre in Slovakia intended mainly for young audiences. Its production is characteristic for bridging old traditional puppet aesthetics and post-modern and pop-cultural expressions. It is a generational authorial theatre which brings the entertainment of comedy genres to stages and public spaces. Their productions are inspired by popular and pulp literature, television, film and music. The members of this theatre grouping are connected with their audience through the same aesthetic feeling and agreement of opinion as well as a similar life style and image.

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PREŠOVSKÉ DIVADELNÉ TOPOSY V ZRKADLE ČASU (DIALOG S KNIHOU PETRA HIMIČA)

Author(s): Tibor Ferko / Language(s): Slovak Issue: 01/2015

Knowledgeable about a broader theatre context, the author of this paper interprets the text of Peter Himič’s book Divadelný život Prešova. Od počiatkov do polovice 20. storočia [The Theatre Life of Prešov. From the Beginnings to the Mid-Twentieth Century]. Despite the fact that the author’s comments are rather reflexive and fragmentary in nature, he attempts to capture the dominant features of theatre life in the given coordinates. Examining artistic and non-artistic determinants, he focuses on the main movements in the town’s theatre life. Until the first professional theatre company was founded, the theatre life had been in the hands of amateur actors and their troupes (for example, Jednota Orla, the local subsidiary of Matica slovenská, a theatre of company sergeants major stationed in Prešov). At the time of the wartime Slovak state, the Záborský theatre ensemble dominated the struggle for a permanent stage. The tumult of war times and post-war changes also marked the beginnings of professional theatre in Prešov. A fully professional theatre was finally established in 1950. The author concludes his research with looking into the theatre seasons until 1955.

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ROMÉO ET JULIETTE: PREMIÉRA FRANCÚZSKEJ OPERY V SLOVENSKOM NÁRODNOM DIVADLE

Author(s): Anna A. Hlaváčová / Language(s): Slovak Issue: 02/2015

Skladateľ Charles Gounod pracoval s libretom, ktoré vzniklo na základe prekladu Shakespearovej tragédie Victorom Hugom. Prispôsobenie činoherného diela opernému žánru umožňuje sledovať dômyselnú prestavbu dramatickej architektúry. V priebehu adaptácie sa uskutočnili procesy, ktoré možno považovať za zákonité: Libreto prináša textové redukcie, aby uvoľnilo priestor hudobnému vyjadreniu. Výrazne redukované sú odchody z javiska a odstránená je i pestrosť lokalizácií jednotlivých výstupov. K uvedeným posunom treba pridať originálne Gounodove riešenia, ktoré možno vyabstrahovať v porovnaní so Shakespearovou drámou: V činohre je veľa mimojaviskového diania, ktoré stimuluje jazykové napätie a prináša nutnosť verbálnej informácie. Opera, naopak, akcentuje celok, vnára dej do chóru.

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MARGINÁLNE O FESTIVALE NOVÁ DRÁMA 2015

Author(s): Miroslav Balay / Language(s): Slovak Issue: 04/2015

The paper is a marginal reflexive probe into this year’s New Drama Festival (10 – 15 May 2015 in Bratislava). This festival has a unique focus on contemporary texts of the so-called new drama (of Slovak and foreign provenience). The author deals with several selected productions, thinking about their themes and unusual expression, or innovative communicativeness. He states that this year’s 11th year of the New Drama Festival was mainly a platform of new communication of theatre in the universal sense and not only a traditional, recapitulating show.

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POSTOJ K DEJINÁM V SÚČASNEJ RÉŽII

Author(s): Anna A. Hlaváčová / Language(s): Slovak Issue: 03/2014

This article deals with the perception of history on the contemporary stage and uses the example of Oresteia, which is viewed through the analytical lens of historical drama.

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JE VEDY MÁLO ALEBO VEĽA?

Author(s): Dagmar Inštitorisová / Language(s): Slovak Issue: 03/2014

Review of: Dagmar Inštitorisová - Hlavenková-Bakošová, Zuzana a kol. Divadlo a nové médiá, intermedialita, (re)prezentácia. Bratislava : VŠMU, Centrum umenia a vedy, 2012. 139 s.

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AKO VZNIKALA KATEDRA BÁBKARSKEJ TVORBY NA VŠMU

Author(s): Vladimír Predmerský / Language(s): Slovak Issue: 03/2014

V 50. rokoch minulého storočia sa na Slovensku zakladali profesionálne bábkové divadlá. Ich personálnu základňu tvorili ochotnícki bábkari s viacročnou praxou, alebo jednotlivci, ktorí na základe vypísaného konkurzu prejavili záujem o profesiu bábkoherca v divadle. Išlo väčšinou o ľudí so základným alebo stredoškolským vzdelaním, bez možnosti ďalšieho vysokoškolského vzdelávania v odbore. Až v roku 1952 sa na pražskej Divadelnej fakulte AMU založila bábkarská katedra. Jej prví slovenskí absolventi začali do divadiel prichádzať od roku 1956. Takto sa postupne posilňoval súbor v Žiline a v Bratislave. Krátko po vzniku piateho, najmladšieho profesionálneho bábkového divadla v Banskej Bystrici (1960) sa po roku 1961 rozšíril aj tento súbor o absolventov pražskej katedry. Uvažovalo sa ešte o založení profesionálneho bábkového divadla v Prešove a po vzore Prahy tiež o vzniku televízneho bábkového súboru v Bratislave.

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KATEDRA BÁBKARSKEJ TVORBY JUBILUJE ALEBO ODKIAĽ – KAM?

Author(s): Ida Hledíková- Polívková / Language(s): Slovak Issue: 03/2014

História dvadsaťpäťročnej Katedry bábkarskej tvorby na VŠMU v Bratislave sa temer prekrýva s novodobými spoločenskými zmenami, ktoré prišli po roku 1989. Neviem, aká bola dlhodobá koncepcia jej zakladateľov, lebo politické zmeny priniesli aj zmeny personálne. Jedno je však isté: v čase, keď katedra vznikala, sme ešte nechyrovali o rozpade spoločného štátu. Bolo založenie katedry v Bratislave teda akousi predzvesťou takejto zmeny? Dnes nám na to asi nik neodpovie, no tí, ktorí stáli pri úplných začiatkoch katedry tesne pred „zamatovou revolúciou“, boli, zdá sa, prezieraví. Pravdou je, že všetci pedagógovia hlavných predmetov boli absolventmi pražskej bábkarskej katedry, tzv. KLAMU – Katedry loutkářství AMU na Divadelnej fakulte.

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KRITICKÉ POZNÁMKY

Author(s): Rudolf Leška / Language(s): Slovak Issue: 03/2014

Jan Vedral publikoval v Slovenskom divadle č. 3/2013 polemiku (nie štúdiu, ako by sa mohlo zdať podľa názvu rubriky) Ghetto postmoderného divadla, v ktorej obvinil súčasnú kritiku („skupinu mužov a žien vyhlasujúcich sa za divadelných kritikov“) a osobitne potom mňa, nielen z obdivu k inscenáciám postmoderného divadla (pričom za postmoderné označuje v súdobom divadle paušálne všetko, čo mu nelahodí, bez teatrologickej akríbie), ale aj z ľavičiarskeho aktivizmu, arogantného sociálneho inžinierstva, posadnutosti mocou, ba dokonca z vražedných polpotovských chúťok!

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REŽISÉR JURIJ ĽUBIMOV, LEGENDA RUSKEJ KULTÚRY

Author(s): Nadežda Lindovská / Language(s): Slovak Issue: 04/2014

The theatre director Yuri Ljubimov (1917 – 2014) entered the annals of Russian and world theatre as the founder of the legendary Taganka Theatre in Moscow. In 1964 – 1984 the Taganka Theatre was the most famous theatre of the end of the Soviet era. Yuri Ljubimov took inspiration from Stanislavski, Meyerhold and Vakhtangov and enriched the Russian theatrical tradition with impulses from Bertolt Brecht. He created a modern theatre with a distinct civic attitude, untraditional repertoire and excellent acting company. The Taganka Theatre was considered “an island of freedom” in the sea of Soviet bans and restrictions. The history of the theatre mirrors the history of the Soviet Union from the political thaw to perestroika. The present article describes the life and work of the director Yuri Ljubimov, the fate of the Taganka Theatre and the director’s conflict with it. It points out the role of Ljubimov’s long-term partner, the famous Russian film star Lyudmila Tselikovskaya, in the existence and formation of the Taganka Theatre’s repertoire

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POZNÁMKY K PROFILÁCII OPERY SND V MEDZIVOJNOVOM OBDOBÍ

Author(s): Michaela Mojžišová / Language(s): Slovak Issue: 04/2014

This article deals with the shaping of the opera company of the Slovak National Theatre in the interwar period. Its main focus is on the characteristics of Karel Nedbal’s era (1928 – 1938), but neither does it ignore the contribution of his predecessor Oskar Nedbal, who, besides other things, improved the quality of the opera orchestra in Bratislava and helped the Slovak National Theatre establish relations with similar institutions abroad. The ten years of Karel Nedbal’s work, which theatre scholars consider one of the most significant eras in the theatre’s nearly one hundred years’ history, are characterised in terms of dramaturgy, staging and music and vocal production. The article confronts facts that have been published several times elsewhere with the opinions and views that Karel Nedbal expressed especially in his memoirs Půl století s českou operou (Half a Century with Czech Opera).

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DVA PRÍSTUPY K MONODRÁME: CASTELLUCCI A KLIM

Author(s): Anna A. Hlaváčová / Language(s): Slovak Issue: 04/2014

Jednou z odpovedí na režisérizmus je herecká monodramatická tvorba. Lenže žáner monodrámy je ťažký, jeho riziko je v tom, že sa v ňom niet za čo skryť, čím si pomôcť. Obnažená forma divadelnej práce je nástrojom intimizácie kontaktu s publikom. Nevyhnutne so sebou nesie návrat k hercovi ako základu divadelného diela, a spravidla aj akcent na verbálnu zložku. Potenciál sólovej kreácie je v možnosti nastoliť otázku o tom, čo je nevyhnutné pre divadelnú komunikáciu. Vracia nás tak k antickým počiatkom divadla, kde sa postavy z chóru vynárali po jednej, ako i k problematike javiskovej reči. Na rozdiel od aischylovského herca je v súčasnej monodráme herec spravidla zbavený aj opory v chóre.

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Košice po druhej svetovej vojne a vybrané aspekty kultúrneho života

Košice po druhej svetovej vojne a vybrané aspekty kultúrneho života

Author(s): Štefan Šutaj,Lucia Heldáková / Language(s): Slovak Issue: Suppl./2019

Košice throughout its existence has been an important centre of trade, transport and culture, and it was here that the new republic, with its new political, economic and social system was founded with the Benes decrees in October 1945. Until this point, the situation of the post-war economy, industry and the unfavourable economic conditions had affected the everyday life of Kosice’s population. Košice’s soap factory struggled with a lack of raw materials, and the plight was even worse after the pillaging by pseudo-revolutionary groups. People’s circumstances were also complicated by poor health, leading to an epidemiological service being set up in Košice. The Soviet Union’s brutal prosecution of Tiso’s SSNJ party, the search for fascist officials, and other national complications made the situation increasingly complicated. The socio-political problems were in part a result of the pre-war First Vienna Award whereby Košice became part of the southern territories of Horthyˈs Hungary in November 1938. The multi-ethnicity of the city brought many difficulties, but despite the uncertain future and the difficult situation Kosice inhabitants continued building on its cultural base. In the contribution we mention the beginnings of the Košice Theater connected with the names of Andrej Bagar and Jan Borodáč, who managed to found all three components - the theater, opera and ballet. Publishing of journals, starting of several fellowships, City library, Music school and amateur folk groups were founded in Košice. The aim of the paper is not to analyse politically, socially, economically or culturally post-communist Košice, but through small examples show the difficulties, misfortunes and perhaps the happiness experienced by the inhabitants of Košice. On the basis of historical facts and events we shall highlight the specifics and particularities of the “Košice” development, which are either a unique contribution of Kosice to the future development, or in historiography were missing. In the second part of the paper we will briefly present the activities of selected cultural institutions operating in Košice in 1945, especially in connection with the theatre.

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História a mytológia v Suchoňovom Svätoplukovi

História a mytológia v Suchoňovom Svätoplukovi

Author(s): Milan Blahynka / Language(s): Slovak Issue: 02/2010

In the opera King Svätopluk, which tells the story from the Great Moravian period, Eugen Suchoň combines its historical and mythological dimension into one organic whole. Musically, he applies mainly the principles of dynamic form. The aesthetic and artistic functions are closely related to non-aesthetic and particularly ethical one. Suchoň develops his modern drama about contradictory personality on the background of unified historical and mythical events.

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Slovenské herectvo na prelome storočí – odklon od mimetického princípu divadelnej tvorby

Slovenské herectvo na prelome storočí – odklon od mimetického princípu divadelnej tvorby

Author(s): Andrej Maťašík / Language(s): Slovak Issue: 02/2010

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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Nó Na Západe – Japonský Most Cez Jedno Storočie Od W. B. Yeatsa Po Jannette Cheongovú

Nó Na Západe – Japonský Most Cez Jedno Storočie Od W. B. Yeatsa Po Jannette Cheongovú

Author(s): Ivan R. V. Rumánek / Language(s): Slovak Issue: 02/2010

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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Druhé martinské obzretie

Druhé martinské obzretie

Author(s): Mišo A. Kováč / Language(s): Slovak Issue: 02/2010

Review of: Mišo A. Kováč - Dagmar Podmaková: Príbeh divadla /Divadlo, ktoré nezaniklo/, Slovenské komorné divadlo Martin, 2009, 252 s.)

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