From a Single Presentation of Poetry Up to Its Stylized Stage Image in the Form of Theatre Performance
In the 1940s the Drama Company of the Slovak National Theatre introduced four poetry productions, which demonstrated the stage potential of the symbiosis of verse and a music-accompanied recitation in an original stage design solution. The single presentation of poetry of Poézia revolúcie a boja [Th...
Saved in:
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
Slovak Academy of Sciences, Institute of Theatre and Film Research of The Art Research Centre
2017-06-01
|
| Series: | Slovenské divadlo |
| Online Access: | http://www.degruyter.com/view/j/sd.2017.65.issue-2/sd-2017-0011/sd-2017-0011.xml?format=INT |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| _version_ | 1850132488643411968 |
|---|---|
| author | Podmaková Ú Dagmar |
| author_facet | Podmaková Ú Dagmar |
| author_sort | Podmaková Ú Dagmar |
| collection | DOAJ |
| description | In the 1940s the Drama Company of the Slovak National Theatre introduced four poetry productions, which demonstrated the stage potential of the symbiosis of verse and a music-accompanied recitation in an original stage design solution. The single presentation of poetry of Poézia revolúcie a boja [The Poetry of Revolution and Fight, 1945] directed by Ján Jamnický and Pásmo poézie Janka Jesenského [The Show of Poetry by Janko Jesenský, 1946] directed by Jozef Budský were the first independent attempts at staging selected poetry. Besides recitation, they were dominated by the visual sign, powerful music sometimes accompanied by the singing of individuals and a voice band, and distinctive lighting design. Botto’s Smrť Jánošíkova [The Death of Jánošík] and Sládkovič’s Marína (both in 1948) directed by Jozef Budský displayed all features of synthetic theatre, combining recitation, voice band singing, scenic and visual solutions, metaphor, originally composed music inspired by the folk song, dance, film screening, and meaningful lighting. Jozef Budský indirectly built on Czech theatre, particularly on E. F. Burian. Both masterpieces by the authors of Štúr’s generation (Ján Botto, Andrej Sládkovič) aroused the interest of the expert public and the audience. It triggered arguments about excessive directorial intervention and insufficient ideological character, especially in the theatre form of Marína. |
| format | Article |
| id | doaj-art-7a8c07effada4220bdb911c7e7f0dd14 |
| institution | OA Journals |
| issn | 1336-8605 |
| language | English |
| publishDate | 2017-06-01 |
| publisher | Slovak Academy of Sciences, Institute of Theatre and Film Research of The Art Research Centre |
| record_format | Article |
| series | Slovenské divadlo |
| spelling | doaj-art-7a8c07effada4220bdb911c7e7f0dd142025-08-20T02:32:11ZengSlovak Academy of Sciences, Institute of Theatre and Film Research of The Art Research CentreSlovenské divadlo1336-86052017-06-0165217219510.1515/sd-2017-0011sd-2017-0011From a Single Presentation of Poetry Up to Its Stylized Stage Image in the Form of Theatre PerformancePodmaková Ú Dagmar0Ústav divadelnej a filmovej vedy SAV Dúbravská cesta 9 841 01 Bratislava, SlovakiaIn the 1940s the Drama Company of the Slovak National Theatre introduced four poetry productions, which demonstrated the stage potential of the symbiosis of verse and a music-accompanied recitation in an original stage design solution. The single presentation of poetry of Poézia revolúcie a boja [The Poetry of Revolution and Fight, 1945] directed by Ján Jamnický and Pásmo poézie Janka Jesenského [The Show of Poetry by Janko Jesenský, 1946] directed by Jozef Budský were the first independent attempts at staging selected poetry. Besides recitation, they were dominated by the visual sign, powerful music sometimes accompanied by the singing of individuals and a voice band, and distinctive lighting design. Botto’s Smrť Jánošíkova [The Death of Jánošík] and Sládkovič’s Marína (both in 1948) directed by Jozef Budský displayed all features of synthetic theatre, combining recitation, voice band singing, scenic and visual solutions, metaphor, originally composed music inspired by the folk song, dance, film screening, and meaningful lighting. Jozef Budský indirectly built on Czech theatre, particularly on E. F. Burian. Both masterpieces by the authors of Štúr’s generation (Ján Botto, Andrej Sládkovič) aroused the interest of the expert public and the audience. It triggered arguments about excessive directorial intervention and insufficient ideological character, especially in the theatre form of Marína.http://www.degruyter.com/view/j/sd.2017.65.issue-2/sd-2017-0011/sd-2017-0011.xml?format=INT |
| spellingShingle | Podmaková Ú Dagmar From a Single Presentation of Poetry Up to Its Stylized Stage Image in the Form of Theatre Performance Slovenské divadlo |
| title | From a Single Presentation of Poetry Up to Its Stylized Stage Image in the Form of Theatre Performance |
| title_full | From a Single Presentation of Poetry Up to Its Stylized Stage Image in the Form of Theatre Performance |
| title_fullStr | From a Single Presentation of Poetry Up to Its Stylized Stage Image in the Form of Theatre Performance |
| title_full_unstemmed | From a Single Presentation of Poetry Up to Its Stylized Stage Image in the Form of Theatre Performance |
| title_short | From a Single Presentation of Poetry Up to Its Stylized Stage Image in the Form of Theatre Performance |
| title_sort | from a single presentation of poetry up to its stylized stage image in the form of theatre performance |
| url | http://www.degruyter.com/view/j/sd.2017.65.issue-2/sd-2017-0011/sd-2017-0011.xml?format=INT |
| work_keys_str_mv | AT podmakovaudagmar fromasinglepresentationofpoetryuptoitsstylizedstageimageintheformoftheatreperformance |