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1±21±2 1±21±2 Revue dramatickyÂch umenõ VydaÂva Kabinet divadla a filmu 1±21±2 1±21±2 Slovenskej akadeÂmie vied RocÏnõÂk 53 ± 2005 ± CÏõÂslo 1±2 OBSAH Hlavny redaktor: Andrej Mat'asÏõÂk RedakcÏna rada: MilosÏ MistrõÂk, JuÂlius PasÏteka, JaÂn SlaÂdecÏek, Ida HledõÂkovaÂ, SÏ TU DIE Karol HoraÂk, NadezÏda LindovskaÂ,JaÂn ZavarskyÂ, Miloslav Bla- hynka, Ladislav CÏ avojskyÂ, Jana Dutkova Ladislav CÏ avojskyÂ: MuzikaÂlovy BednaÂrik ............................... 3 Miloslav Blahynka: Esteticka analyÂza opery a jej mozÏnosti ................. 22 Dagmar InsÏtitorisovaÂ: O divadelnej konvencii .......................... 28 Anton Kret: Z esejõ ozaÂhadaÂch tvorby: Talent alebo Vystupovanie na Olymp .. 32 VladimõÂrSÏtefko: Zabudnuty rezÏiseÂr Ernest StrednÏansky .................. 36 Martin PaluÂch: Film ako zrkadlo subjektu I. ............................. 57 Elena KnopovaÂ: TajovskeÂho ZÏ ensky zaÂkon a Hasprov Tajovsky ............. 69 Technicka redaktorka: Jana JanõÂkova ROZHL' ADY Adresa redakcie: Kabinetdivadla a filmu SAV MilosÏ MistrõÂk: Sarah Kane ± samovrazÏda dialoÂgu ........................ 95 DuÂbravska cesta 9 Dagmar SabolovaÂ-Princic: Ako vypovedat'nevypovedane ................ 106 841 04 Bratislava Slovenska republika ROZHOVOR TelefoÂn: ++ 4212/ 54777193 Andrej Mat'asÏõÂk ± MatuÂsÏ Ol'ha: DivaÂk chodõ do divadla pre odpoved' Fax: ++ 4212/ 54777567 na otaÂzku ako zÏit' ............................................... 114 E-mail: [email protected] STATE Dagmar PodmakovaÂ: OpaÈt' o cÏloveku... na ceste ........................ 136 NevyzÏiadane rukopisy sa nevracajuÂ. Andrej Mat'asÏõÂk: PetisÏkovej rehabilitaÂcia JirÏõÂho Frejku .................... 140 VsÏetky texty su publikovane so suÂhlasom autora a vydavatel'a. Toto cÏõÂslo bolo odovzdane do tlacÏevmaÂji 2005. KRITIKA Dagmar InsÏtitorisovaÂ: TakyÂch knõÂhjevzÏdy maÂlo ....................... 144 Andrej Mat'asÏõÂk: O umenõ predaÂvat'umenie ........................... 145 Reprodukcie fotografiõ z archõÂvu DivadelneÂho uÂstavu v Bratislave, Dagmar InsÏtitorisovaÂ: K poetike divadla poeÂzie ........................ 148 Divadla Andreja Bagara v Nitre a suÂkromneÂho archõÂvu MatuÂsÏaOl'hu. Ladislav CÏ avojskyÂ: Hudobne divadlo ako vyÂzva ........................ 149 Oleg DlouhyÂ: PrõÂspevok ku kultuÂrnemu kontextu ....................... 152 MaÂria ValentovaÂ: InterpretacÏne sondy do suÂcÏasneÂho slovenskeÂho divadla .... 154 Anton Kret: PolaÂkove KraÂtke dejiny divadla ............................ 156 THE SLOVAK THEATRE, Journal of Theatre, Film, 1±21±2 Radio and Television Art Volume 53 ± 2005 ± Number 1±2 CONTENTS STUDIES Ladislav CÏ avojskyÂ: A Musical BednaÂrik ................................ 3 Miloslav Blahynka: Aesthetic Analysis of the Opera and Its Prospects ....... 22 Dagmar InsÏtitorisovaÂ: Conventions in the Theatre ....................... 28 Anton Kret: From the Essays on the Mysteries of Creation: Talent or Ascending the Olympus ........................................ 32 VladimõÂrSÏtefko: Ernest StrednÏanskyÂ, Forgotten Director ................. 36 Martin PaluÂch: Film as a Reflection of the Subject I ....................... 57 Elena KnopovaÂ: TajovskyÂ's Women's Law and Haspra's Tajovsky ........... 69 VIEWS MilosÏ MistrõÂk: Sarah Kane, a Suicide of the Dialogue ..................... 95 Dagmar SabolovaÂ-Princic: Expressing the Unexpressed ................. 106 INTERVIEW Andrej Mat'asÏõÂk ± MatuÂsÏ Ol'ha: In the Theatre, the Audiences Seek an Answer to Their Question About the Art of Living .................. 114 PAPERS Dagmar PodmakovaÂ: About Man... on His Way ....................... 136 SLOVENSKE DIVADLO Andrej Mat'asÏõÂk: PetisÏkovaÂ's Rehabilitation of JirÏõ Frejka ................. 140 REVIEWS VychaÂdza sÏtyri razy do roka. RozsÏiruje, objednaÂvky a predplatne doma Dagmar InsÏtitorisovaÂ: On The Poetics of the Theatre of Poetry ............ 144 aj do zahranicÏia prijõÂma Andrej Mat'asÏõÂk: On the Art of Art Marketing ......................... 145 VEDA, vydavatel'stvo SAV Dagmar InsÏtitorisovaÂ: There Will Never Be Enough of Such Books ......... 148 DuÂbravska cesta 9 Ï Ladislav CavojskyÂ: Music Theatre as a Challenge ...................... 149 842 34 Bratislava Oleg DlouhyÂ: A Contribution to the Culture Context .................... 152 Slovenska republika MaÂria ValentovaÂ: Probing Into the Interpretation of Contemporary RegistracÏne cÏõÂslo: 7090 ± 6/15 Slovak Theatre ................................................. 154 Anton Kret: PolaÂk's Short History of the Theatre ........................ 156 ISSN 0037-699X SlovenskeSlovenske divadlo divadlo SÏ tuÂdie State SÏ tuÂdie State SlovenskeSlovenske divadlo divadlo SÏ tuÂdie Kritika SlovenskeSlovenske divadlo divadlo SÏ tuÂdie Kritika SÏ tuÂdie Kritika SÏ tuÂdie Kritika SÏ tuÂdie Kritika Rozhl'ady Kritika Rozhl'ady Kritika Rozhovor Jozef BednaÂrik vo chvõÂlispokojnostis pra Âcou nitrianskych hercov na skuÂsÏke muzikaÂlu Kabaret. SnõÂmka Anton SlaÂdek/DAB Nitra. 3 MUZIKA LOVY BEDNA RIK LADISLAV CÏ AVOJSKY Kl'uÂcÏove slovo pre nasÏu operetu je Gejza DusõÂk. Kl'uÂcÏovy pojem pre muzikaÂlunaÂs je Jozef BednaÂrik. Ked' myslõÂm na operetu, myslõÂm na domaÂcu, slovensku tvorbu. Ked' hovorõÂm o mu- zikaÂloch, hovorõÂm takmer bezvyÂhradne o svetovyÂch hitoch, cÏi asponÏ o zahranicÏnej produkcii. Slovensky poÃvodny muzikaÂl nebude mat' v tejto uÂvahe vel'ky priestor. Operetny zÏaÂner ovlaÂdol v slovenskom divadle skladatel' populaÂrnych sÏlaÂgrov. MoÂdny zaÂbavny zÏaÂner vyniesol na vyÂslnie poÃvodom cÏinoherec, ktory na vyhl'adaÂva- neÂho muzikaÂloveÂho rezÏiseÂra vyraÂstol cez herectvo, cÏinohernuÂ, opernuÂ,baÂbkaÂrsku ba i baletnu reÂzÏiu. V poslednyÂch rokoch cÏinoherne divadla obchaÂdza, strieda muzikaÂlove sceÂny s opernyÂmi domami. A tam sa mu spravidla viac vydarõ komicky Rossini cÏi Donizetti, nezÏ tragicky Verdi. Jozef BednaÂrik je chlapec z dediny, no nie dedincÏan. Jeho rodny LincÏ bol trnavskyÂm humnom. Dnes sa vola ZelenecÏ. ZelenecÏ je aj pri Prahe. Ked' BednaÂrikova ochotnõÂcka slaÂva dosiahla azÏ po hranice hlavneÂho mesta CÏ eskoslovenska, mnohõ recenzenti pre- lozÏili jeho rodisko od maleÂho slovenskeÂho RõÂma k cÏeskej MaticÏke stovezÏatej. BednaÂrik na zmenu rodiska a bydliska jeho amateÂrskeho Z-divadla nepristal. Jeho divadelna slaÂva nezacÏõÂna druhyÂmpõÂsmenom abecedy, lezÏ takmer poslednyÂm, nie je to B, ale Z. AzÏ neskoÃr sa jednyÂm dychom hovorilo BednaÂrikovo divadlo zo ZelencÏa. To divadlo sa vsÏak v zÏiadnom prõÂpade nedalo zaradit'medzi dedinske suÂbory, ktore hraÂvali predovsÏetkyÂm slovenske dedinske hry. UrbaÂnka, ba ani TajovskeÂho nemali nikdy na repertoaÂri. Zato uvaÂdzali Plauta, Tirsu de Molina, Shakespeara, Goldoniho, Gogol'a, Maupassanta, Kafku, Brechta. Pritom nie vsÏeobecne u naÂsznaÂmeho Shake- speara, lezÏ pre naÂs ¹neznaÂmuª trpku komeÂdiu Koniec vsÏetko napravõÂ. Nie MolieÁrovho Dona Juana, ale v slovenskej premieÂre hru rovnakeÂho naÂzvu od Tirsu de Molina. Nie Gogol'ovu vsÏeobecne prõÂstupnu ZÏ enbu cÏi RevõÂzora, ale dramatizaÂciu MrÂtvych dusÏõÂ.Tu BednaÂrik zistil, zÏe dramatizaÂcia mu lepsÏie vyhovuje nezÏ klasicka draÂma a tak po uÂpra- vaÂch dramatickyÂch textov inscenoval netradicÏne aunaÂsmaÂlo cÏõÂtane proÂzy, Maupas- santovu Gul'oÃcÏku, Brechtovu Matku GuraÂzÏ spolu s proÂzou H. J. Ch. Von Grimmel- shausena, ba aj novelu F. Kafku Premena so zverejnenõÂm obsahu inscenaÂcie pod naÂzvom Otem jako sa raÂz zobudzil paÂn Gregor Samsa ve svojej postely a ziscil, zÏe sa premenyl na obludny hmyz. ZelencÏania teda hrali aj v trnavskom naÂrecÏõÂ,cÏi v bernolaÂkovskej spisovnej slo- vencÏine. Hovorili, jako ocÏuli. Napodiv v tejto recÏi bola kafkovska absurdita kazÏdeÂmu zrozumitel'naÂ. BednaÂrik si vyberal na zdivadelnenie literatuÂru najvysÏsÏõÂch hodnoÃt. Sve- tovu v plnom vyÂzname toho slova. Na javisku ju nemilosrdne literaÂrne anuloval. Ako- naÂhle vstuÂpil do skuÂsÏobne, draÂmu cÏi proÂzu, draÂmu v proÂze alebo vo versÏi odlozÏil, zacÏal põÂsat' knihu divadla. UnÏ ho pojmy scenaÂr a sceÂna mali k sebe vel'mi blõÂzko. Jeho zdiva- 4 LADISLAV CÏ AVOJSKY MUZIKA LOVY BEDNA RIK 5 delnenie divadla vychaÂdzalo z literatuÂry, no koncÏilo jej zavrhnutõÂm. CÏ ovsÏak precÏõÂtal svojom poznanõ a rozhl'ade. Do cÏeskyÂch kuÂpel'ov chodõ odtucÏnÏ ovat', do svetovyÂch svojimi ocÏami, to prelozÏil do divadelneÂho põÂsma a jeho recÏou napõÂsane inscenaÂcie mali galeÂriõÂ,muÂzeõ a divadiel priberat' nove poznatky. Preto je jeho divadlo ¹hudobno-vyÂ- sÏiroky ad'aleky divadelny ohlas. tvarno-hereckou kolaÂzÏou, je syntetickyÂm tvarom, v ktorom dominuje jeho rezÏiseÂrska ZelenecÏske Z-divadlo bolo dramaturgicky aj inscenacÏne vsÏeobecne prõÂstupne dedin- ruka.ª4 MilosÏ MistrõÂk takto umelca charakterizoval po dvadsat'rocÏnej, takmer bezvyÂ- cÏanom aj mesÏt'anom, neplnilo zÏiadne prõÂkazy a nariadenia doby, zato malo plne saÂly hradne len cÏinohernej, rezÏiseÂrskej praxi. doma aj na zaÂjazdoch, vo vsÏednyÂch dnÏ och aj na festivaloch. Bolo mladeÂ, ¹zeleneª, no CÏ onaÂsÏ umelec vedel, cÏocõÂtil, cÏo ctil i cÏo sa naucÏil, zacÏal ako rezÏiseÂrskuÂsÏat' medzi inscenacÏne pestrofarebneÂ. NehyÂrili v nÏ om farby bez ladu a skladu, ale kazÏda inscenaÂcia amateÂrmi. Slovo amateÂrma unaÂs nepraÂvom cÏasto hanlivy vyÂznam, kyÂm ochotnõÂkjecti mala svoju farebnu sÏkaÂlu, ta zase mala vzÏdy metaforicky vyÂznam. Akej farby bola hoden. Pritom jeden vyÂraz hovorõ otom,zÏedotycÏny robõ divadlo s laÂskou, druhyÂ,zÏesa jednoducha sceÂna, taku pouzÏil rezÏiseÂr-sceÂnograf aj na kostyÂmy. Pre Plautovho Chvas-
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