scholarly journals Miloš Wasserbauer’s Work at the Slovak National Theatre in the 50s and Early 60s of the 20th Century

2018 ◽  
Vol 66 (4) ◽  
pp. 362-379
Author(s):  
Šárka Havlíčková Kysová
Keyword(s):  
20Th Century ◽  
Critical Reflection ◽  
National Theatre

Abstract The article examines the work of opera director Miloš Wasserbauer during the 50s and at the beginning of the 60s of the 20th century in the Slovak National Theatre. Focusing on the staging of new Slovak operas Ján Cikker’s Juro Jánošík and Beg Bajazid, and Eugen Suchoň’s Svätopluk. The author analyses Wasserbauer’s approach to the productions and Slovak staging tradition from the perspective of the Czech director and the critical reflection of the performances. Special attention is paid to the conceptualisation of Slovak national feeling in the corpus of archive materials.

scholarly journals Current Opera Production in the Repertoire of the Slovak National Theatre in 1960s

2018 ◽  
Vol 66 (1) ◽  
pp. 5-22
Author(s):  
Michaela Mojžišová
Keyword(s):  
20Th Century ◽  
Social Motivation ◽  
National Theatre ◽  
The Social ◽  
The 1960S ◽  
Opera Production ◽  
Opera Productions

Abstract The study deals with the increase in the introduction of modern opera production at the Slovak National Theatre in the 1960s. The author interprets it not only as an attempt of dramaturgy to enliven the traditional repertoire, but in particular as an ambition to apply more modern theatrical poetics in the production opera practice. Since there was no practice of updating classic opera production in Slovakia in the sense of “Regietheater” at that time, this production of the 20th century was considered to be the most realistic way of reviving opera. At the same time, the study highlights the social motivation of this intention: an effort to address a new, progressively oriented audience that would create appeal for a conventionally oriented audience that primarily focuses on the musical-vocal component of opera productions.

Kultur als Frage der Moderne

2019 ◽  
Vol 67 (3) ◽  
pp. 329-348
Author(s):  
Dirk Quadflieg
Keyword(s):  
20Th Century ◽  
Critical Reflection ◽  
The Other ◽  
Specific Situation ◽  
Specific Content ◽  
Normative Concept ◽  
Other Hand ◽  
The One

Abstract It seems that the concept of culture is becoming ever more ambivalent. On the one hand, since the 20th century nearly every topic or object can be perceived as a product of culture or as an expression of a specific cultural subdomain. On the other hand, we are witnessing a return of identitarian movements which use culture as a normative concept to designate the substantial unity of a “we” and separate this unity from other cultures and people. Against this back-drop, the article traces back the concept of culture to the specific situation of modernity, which could be characterized by the loss of substance and the challenge of contingency in all fields of the lifeworld. The essay argues that, emerging in this modern situation, culture is not defined by a specific content or a set of objects, but is used rather as a way of putting one’s own position into question. Seeing things through the lens of culture implies that the actual given comes into view as something that has developed socially and historically. From such a perspective, culture is neither an arbitrary concept nor a substantial unity but allows for a critical reflection on the present.

scholarly journals "Któż tam będzie wisiał?" – Bunt chłopski w miejskiej wyobraźni

2012 ◽  
pp. 1-52
Author(s):  
Marcin Starnawski
Keyword(s):  
Social Movements ◽  
Early Modern ◽  
Marketing Strategy ◽  
20Th Century ◽  
Critical Reflection ◽  
Final Section ◽  
Punk Rock ◽  
Musical Form ◽  
Urban Imagination ◽  
Peasant Revolt

“Who’s going to dangle there?” – Peasant revolt in urban imagination. On the Gore album by R.U.T.A. and on its receptionThe author presents a review of a recent album “Gore: Songs of Rebellion and Misery from 16th to 20th Century” by a Polish punk rock / hardcore group R.U.T.A. The album, which combines traditional peasant lyrics with modern arrangements and folk instruments, has received acclaim from both fans and critics, while the band declared their commitment to struggles of contemporary progressive social movements. The author analyses the lyrics situating his reflection in sociological-historical framework to discuss realities of peasants’ lives and revolts during the second serfdom in early modern Poland. The author interprets the musical form of the songs as “punk-rock assimilation” of folklore themes. The final section contains critical reflection on the album’s marketing strategy and reception with the key dissected categories being “rebellion” and “authenticity.”

scholarly journals The Nymph Kyllene in Tony Harrison’s "The Trackers of Oxyrhynchus"

2016 ◽  
pp. 85-104
Author(s):  
Leticia González Pérez
Keyword(s):  
20Th Century ◽  
National Theatre ◽  
Leading Role ◽  
Interpretive Analysis

Tony Harrison’s play The Trackers of Oxyrhynchus, chosen as one of the 100 best plays of the 20th century by the National Theatre Millennium Poll, came in from the desire to bring the Greek genre of satyr play back to stage, since there are scarce satyr plays when compared with the amount of classical tragedies and comedies. The Trackers of Oxyrhynchus is a reworking of the papyri fragments of the satyr play Ichneutae (Trackers) by Sophocles, which was inspired by the Homeric Hymn to Hermes. This paper analyses Tony Harrison’s version performed at Delphi (1988), focusing on the importance of the role of the nymph Kyllene. Although she neither appears in the Homeric Hymn nor plays a leading role in either Sophocles’ version or Harrison’s, she represents a noticeable theatrical contrast with the satyrs, who feature heavily in Sophocles’ Ichneutae and Harrison’s version. Therefore, the character of Kyllene will be examined to find out which elements from the Homeric Hymn to Hermes and Sophocles’ Ichneutae Tony Harrison has kept and which ones he has modified. Furthermore, I will study the reasons why he has carried out these changes and conclude with an interpretive analysis of Harrison’s play.

scholarly journals The opera question in Belgrade as 'staged' by Milan Grol

New Sound ◽  
2014 ◽  
pp. 107-122
Author(s):  
Sanela Nikolić
Keyword(s):  
20Th Century ◽  
Educational Goals ◽  
Sole Purpose ◽  
European Literature ◽  
National Theatre ◽  
Institutional Organization ◽  
Guiding Principles ◽  
European Standards ◽  
Unfavorable Attitude

Writer, politician, and dramaturge Milan Grol can be credited with the most important contribution of an individual to the modernization of the National Theatre in Belgrade. A reformer, legislator, organizer of international theatre cooperation, and manager of the National Theatre, he also played a key role in defining 'the opera question' in Belgrade during the first two decades of the 20th century. Commendable as his activities were in terms of the institutional organization and advancement of South Slavic theatres, it must also be noted that owing to his unfavorable attitude towards the performance of opera at the National Theatre, the development of its opera ensemble and establishment of an artistically worthy opera repertoire at this theatre came to a halt in the first decade of the 20th century. Grol's views about opera at the National Theatre reflect a striking ambivalence in his dual professional personality of a politician and writer. As a member of the Independent Radical Party, he supported a pro-European orientation and cultural elitism, which were meant to serve democratic and educational goals. However, when it came to the question of opera at the National Theatre, he abandoned his guiding principles devoted to modern European standards. Grol thus reinterpreted his firm political basis in the field of partisan clashes and appropriated the power to regulate the repertoire of the National Theatre; yet, for all that, he never gave up his primary vocation of a writer and dramaturge, who saw the presentation of the highest aesthetic achievements of national and European literature as the sole purpose of the institution he managed.

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