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Slovenské Divadlo 2 2 SLOVENSKÉ DIVADLO REVUE DRAMATICKÝCH UMENÍ SLOVENSKÉ DIVADLO Vychádza štyri razy do roka. Rozširuje, objednávky a predplatné doma prijíma VEDA, vydavateľstvo SAV Dúbravská cesta 9 845 02 Bratislava 45, Slovenská republika Objednávky do zahraničia prijíma SLOVART G.T.G. s. r. o. Krupinská 4, P.O.Box 152 852 99, Bratislava 5, Slovak Republic e-mail: [email protected] Registračné číslo: EV 3134/09 ISSN 0037-699X (print) ISSN 1336-8605 (on line) 2012 2/2012 ȱ ȱ ȱ ȱȱǰȱǰȱ ȱȱȱ 2 ȱŜŖȱȮȱŘŖŗŘȱȮȱȱŘ TABLE OF CONTENTS ċȱ DZȱȱ¢ ȱ ȱi¤ȱȱǯǯǯǯǯǯǯǯǯǯȱȱȱşş ȱǯȱ +DZȱǯǯǯȱȱ¡ȱȱȱǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯȱŗŘŜ ȱmiA DZȱȱȱ ȱȱǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯȱŗŚŘ ȱ DZȱȱȱȱȱȱȱ ȱ ȱȱŗşŝŖȱȱŗşŞŖȱȱǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯȱŗśŖ ȱDZȱ¡ȱȱȱȱ¢ȱ ȱ ȱȱȱǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯȱŗŝř ȱ + DZȱȱȱȱȱȱ ȱ ȱȱȱȱ¡ȱȱǯȱ²ȱȱ Ĵȱȱǯǯǯǯǯǯǯǯ ȱŗşŗ ȱi DZȱȱ ȱ¢ȱȱȱ ȱ ȱ ǯȱȱȱȱ ȱȱ ȱ ȱ ȱ ȱȱȱŜŖȂȱȮȱŝŖȂǯȱȱǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯȱŘŖś ȱ i DZȱȱȱ ¤ȱȱǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯȱŘŗş £ȱ +A DZȱȱ ¢ȱȱȱ ȱȱȱ»¢ȱȱǯǯǯȱŘřŜ OÇȱi DZȱȱȱȱ ȱȱǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯȱŘŚŗ Slovenské divadlo ȱ + DZȱȱȱȱȱ ȱ ȱȱȱȱȱǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯ ȱŘŚş £ȱ+ DZȱ¢ȱiȱȱȱȱȱ ȱ ȱȱȱȱǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯǯȱŘśŗ Na obálke vľavo hore titulná strana bulletinu posledného ročníka celoštátnej divadelnej prehliadky Divadlo dnešku v októbri 1989. Grafi cký návrh Tomáš Berka. Vľavo dolu Marianna Mackurová ako Hana G. v inscenácii Bábkového divadla na Rázcestí (Ne)známy osud Slovenky Hany Gregorovej. Vpravo Zuzana Kanócz ako Mokrá Ditt a v inscenácii Fetišistky Ivety Horváthovej v Slovenskom národnom divadle. Snímky Dano Veselský a Denisa Kolesárová, archív Divadelného ústavu a Bábkového divadla na Rázcestí. Autor koláže fotografi í Marek Petržalka. Revue dramatických umení Vydáva Ústav divadelnej a filmovej vedy Slovenskej akadémie vied 2 Ročník 60 – 2012 – Číslo 2 OBSAH ŠTÚDIE Nadežda LINDOVSKÁ: Feministická dramatička Iveta Škripková ... 99 Anna A. HLAVÁČOVÁ: Dimitrij... ďalší ................................................. 126 Andrej MAŤAŠÍK: Schéma kontra imaginatívnosť ............................... 142 Dagmar PODMAKOVÁ: Obraz relatívnej slobody mladých tvorcov tvoriť a o tvorbe diskutovať ................................................. 150 Miroslav BALLAY: Výrazové tendencie súčasného pouličného divadla .............................................................................. 173 Miroslava TRÁVNIČKOVÁ: Fenomén snu v hudebně- -dramaturgické koncepci oper Juliette a Výlety pana Broučka ......... 191 Jan ŠVÁBENICKÝ: Od žánrové terminologie k sociokulturnímu fenoménu II. ......................................................................................... 205 ROZHĽADY Karol MIŠOVIC: Zdena Gruberová ......................................................... 219 Zuzana LAURINČÍKOVÁ: Sláva slova v Poděbradoch ....................... 236 Ľudovít PETRAŠKO Sprisahanec z Kamčatky ...................................... 241 Slovenské divadlo POZNÁMKY Miroslava TRÁVNIČKOVÁ: Dítě v hledišti i na jevišti ........................ 249 Jozef OVEČKA: Vizionár Štepka a jeho tichý protest na divadelných doskách ..................................................................... 251 2 Hlavný redaktor: Andrej Maťašík. Redakčná rada: Ladislav Čavojský, Ida Hledíková, Sylvia Huszár (Ma- ďarsko), Georgij Kovalenko (Rusko), Tatjana Lazor- čáková (Česká republika), Nadežda Lindovská, Miloš Mistrík, Danièle Montmarteová (Francúzsko), Dagmar Podmaková (predsedníčka), Ján Sládeček, Jan Vedral (Česká republika), Ján Zavarský. Fotografie reprodukujeme z archívu Bábkového divadla na Rázcestí v Banskej Bystrici, súkromného archívu PhDr. Dagmar Podmakovej, CSc., archívu redakcie a z dokumentačných fondov Divadelného ústavu v Bra- tislave. Redakcia sa usilovala zistiť autorov použitých diel a získať ich súhlas na uverejnenie reprodukcie. Nezistených nositeľov autorských práv k nie- ktorému z použitých diel prosíme, aby nás o tom informovali. Číslo zostavil: Andrej Maťašík Preklady do anglického jazyk:a Mária Švecová (1) a Ivan Palúch. Technická redaktorka: Jana Janíková Slovenské divadlo Adresa redakcie: Ústav divadelnej a filmovej vedy SAV Dúbravská cesta 9 841 04 Bratislava Slovenská republika Telefón: ++421 2/ 54 777 193 Fax: ++421 2/ 54 773 567 E-mail: [email protected] Nevyžiadané rukopisy sa nevracajú. Všetky texty sú publikované so súhlasom autora a vydavateľa. Toto číslo bolo redakčne uzatvorené 15. mája 2012. FEMINISTICKÁ DRAMATIČKA IVETA ŠKRIPKOVÁ Štúdie NADEžDA LINDOVSKÁ Ústav divadelnej a filmovej vedy SAV Abstrakt: Významná slovenská divadelníčka Iveta Škripková je známa ako riaditeľka Bábkové- ho divadla na Rázcestí v Banskej Bystrici a Medzinárodného divadelného festivalu Bábkarská Bystrica, ako režisérka a zakladateľka prvého slovenského feministického divadelného Štúdia TWIGA, autorka a realizátorka pozoruhodných divadelno-edukačných projektov. Pôsobí aj ako dramatička, ktorá získala viacero ocenení v súťažiach o najlepšiu divadelnú hru na Slovensku i v Česku. Táto skutočnosť sa však ocitla v tieni jej divadelných aktivít. Pritom Škripkovej kon- cept rodovo citlivej „gynodrámy“ významne rozširuje tematický a filozofický záber súčasnej slovenskej drámy o nové estetické nástroje na vyjadrenie ženskej skúsenosti v dramatickom umení. Jej hry majú provokatívny a experimentálny charakter, nadväzujú na tvorbu Jany Jurá- ňovej a cielene rozvíjajú líniu feministickej drámy na Slovensku. Ich reflexia si vyžaduje osvo- jenie feministického diskurzu ako jedného z prístupov k analýze divadla a drámy. O to viac, že Škripková systematicky využíva priestor dramatickej a javiskovej tvorby na šírenie a rozvoj rodovo citlivého myslenia a na jeho integráciu do slovenského umeleckého a spoločenského kontextu. Svojimi hrami posilňuje vnímavosť verejnosti voči rodovým stereotypom a gendro- vým otázkam. Matka feministického divadla na Slovensku Známa divadelníčka Iveta Škripková pôvodne vyštudovala filmovú scenáristiku a dramaturgiu na VŠMU, ale od roku 1985 až doteraz pôsobí v banskobystrickom Bábkovom divadle na Rázcestí ( BDNR). Začínala ako radová dramaturgička, neskôr sa postavila na čelo divadla, ktoré vo funkcii riaditeľky vedie už dvadsať rokov.1 O niečo kratšie pôsobí ako riaditeľka Medzinárodného festivalu Bábkárska Bystrica, ktorý sa koná na pôde BDNR každé dva roky a je najväčším a najprestížnejším báb- karským podujatím na Slovensku. Dramaturgickú prácu Škripková od začiatku spájala s autorskou tvorbou. Postup- ne od dramatizácií diel iných autorov prešla k písaniu vlastných dramatických tex- tov. Vytvárala tak základ pre inscenácie pre deti a dospelých, ktoré v BDNR vznikali v spolupráci s režisérom Mariánom Peckom. V roku 1992 sa v ich divadelnej dielni zrodila inscenácia Dojímate ma veľmi... (fragmenty zo života a diela Dominika Tatarku), ktorá výrazne zarezonovala v dobovom kultúrnom kontexte a potvrdila autorské ambície dramaturgičky Ivety Škripkovej. Pod vplyvom ženského intelektuálneho časopisu Aspekt sa v polovici 90. rokov 20. storočia začala zaujímať o feminizmus a rodovú problematiku, čo výrazne po- 1 Iveta Škripková je riaditeľkou Bábkového divadla na Rázcestí od roku 1992. 100 NADEžDA LINDOVSKÁ Július Meinholm: Neplač, Anna. Bábkové divadlo na Rázcestí, Banská Bytrica. Premiéra 21. a 22. 9. 2001. Réžia Marián Pecko. Scéna Peter Janků a. h. Kostýmy Eva Farkašová a. h. Zľava Mariana Kovačechová, Marianna Mackurová (Anna), Alena Sušilová. Snímka Denisa Kolesárová. Archív BDNR. znamenalo jej ďalšie smerovanie.2 Prelomovým sa stal rok 2000, vtedy spolu s re- žisérom Mariánom Peckom a v spolupráci s Katedrou anglistiky a amerikanistiky Fakulty humanitných vied Univerzity Mateja Bela v Banskej Bystrici na pôde BDNR uskutočnila prvý slovenský feministický divadelný a zároveň vzdelávací projekt Ša- manky. Projekt pozostával z troch častí a jeho realizácia trvala dve divadelné sezóny: 2000/2001 a 2001/2002. Súčasťou projektu bola inscenácia hry Neplač, Anna (premiéra 21.-22.9.2001), ktorú Škripková podpísala pseudonymom Július Meinholm. V tomto dramatickom texte autorka po prvý krát zúročila feministické inšpirácie a znalosť rodových štúdií. Prostredníctvom hry Neplač, Anna Iveta Škripková de facto nadvia- zala na snaženie autorky prvej slovenskej programovo feministickej divadelnej hry 2 Po rokoch svoju skúsenosť z objavenia Aspektu Škripková opísala nasledovne: „Prvé číslo Aspektu som objavila v roku 1994. /.../ Kočíkovala som svoje druhé dieťa, dcéru, zastala pred malým kníhkupectvom v Banskej Bystrici, objavila číslo Aspektu o bosorkách. Kúpila som ho, lebo som zachytila v divadelných kruhoch, ako sa z Aspektu vysmievajú. Bola som zvedavá, čo je pravdy na tom, že feministky sú militantné nespokojné ženské. Čítala som a ticho sa čudovala, čítal to vôbec niekto?, čo proti tomu, čo píšu, preboha, majú? /.../ Odvtedy Aspekt čítam stále. Bol pre mňa bombou informácií. Stal sa mojou súkromnou revolučnou školou v poznávaní sveta. Postupne som si uvedomovala biedu vzťahov a neznalosť, v ktorej žijeme na Slovensku. Vďaka Aspektu som spoznala mriežku, či mreže mocenských vzťahov, nielen politických, ale medziľudských. Ich prejavy v našom živote. V správaní, v myslení. Stereotypy v tvorbe. Akoby odťahovali predo mnou závesy. Aspekt mi uľahčoval prežiť vtedajšie zložité osobné i pracovné obdobie.“ KYSELOVÁ, Eva. Prenikanie feministickej filozofie a estetiky do slovenskej
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