dramaturgia – Musicologica

Hľadanie zmyslu opery: Osudy „nemŕtveho“ umeleckého druhu v Bratislave*

Vladimír Zvara · 27.09.2015 · Hudobné divadlo, Musicologica 2/2015

Searching for Opera’sraisond’être: a Life Story of the “undead” Artistic Genre in Bratislava
The title of this essay is inspired by the publication Zápas o podobu a zmysel SND (Dokumenty SND, zv. 1) [The Fight for the raisond’être and Constitution of the Slovak National Theatre (Documents of the SNT, vol. 1)]. The “raisond’être of the SNT”, the existence of the SNT as a demonstration of a clearly delineated public interest, is a concept that has been gradually consolidating in the course of the theatre‘s history, the birth and first steps of which were more the manifestation of politics than the formulation of an authentic social “will to theatre” (Martin Bendik). The development of the SNT Opera and its audience was affected by two periods under totalitarian regimes: the years of the First Slovak State, and the period of the 1950s, although the influence of politics and ideology on opera mostly did not manifest itself in the form of censorship or bans. The repertoire as well as opera reception after 1948 reveal the residues of stereotypes of the bourgeois notion of opera, which implies an immensely apolitical character of this artistic genre. The sociological survey carried out in 1968–1969 under Michal Hruškovic was aimed at determining the causes of poor attendance of the Opera of the SNT; this survey remains the unique study of the social structure of the opera audience and the specific position of the opera in Bratislava, the city in which the social function of culture has been a typical “mixture” of stereotypes of inherited bourgeois culture (Bildung) and elements of younger ideologies, namely the nationalist ideology, in the course of the entire 20th century.

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Medzi plnením úloh a umeleckou svojbytnosťou. Javiskový tanec vo Viedni, Bratislave a Brne

Gunhild Oberzaucher-Schüller · 27.09.2015 · Hudobné divadlo, Musicologica 2/2015

Fulfilling Tasks or Artistic Autonomy? Stage Dance in Vienna, Bratislava and Brno
Though theoreticians have declared many times the equality of particular stage forms, the everyday practice of multi-ensemble theatres shows exactly the opposite. The model example may be the histories of ballet ensembles in Bratislava, Brno and Vienna from the end of the 19th century until today, which reveal the artistic dependency of ballet ensembles. In the 19th century the ballet was part of grand opéra;if no such work was in the repertoire, the theatre often disposed of the ballet altogether. Independent ballet performances were rare and they were always either easy or commercially successful pieces. These ensembles witnessed a period of development and valuable dramaturgy during the 1920s and 1930s however, which was determined by distinctive personalities leading the theatres. The communist regime brought a forced orientation to the aesthetics and repertoire of the Soviet ballet school for the theatres in Bratislava and Brno, which was distinguished for its virtuosity as well as rigid dramaturgical schemes of the pieces. The development after 1989 documents the dependence of ballet ensembles and their artistic results on finances. The ballet genre has won a certain position in the multi-ensemble theatre in the 21st century; however, we still cannot speak about its equality with the other ensembles of the theatre.

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