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In: Slavica Slovaca, vol. 53, no. 3-4


Divadelné paradigmy v súčasnej slovanskej kultúre Tematika vojny v divadelných obrazoch

Dagmar Podmaková

ISSN 0037-6787 (print)
ISSN 1336-236 (online)

Rok, strany: 2018, 263-275

Publikované: 17. 1. 2019

Typ článku: Štúdie

Abstrakt:

Through concrete theatrical productions of one stream of documentary Russian and Slovak theatre the authoress makes comparisons between various approaches, forms and the messages of cultural creatives. She presents two strands of new drama against the backdrop of the events and recollections of World War II and of the conversations between refugees, whereby producers based themselves on literary models. The socio-political situation and new media (the Internet, web community systems and others) have a significant impact on the thinking and maturing of young people. The content of the word, of a sign and the capacity of the viewer to perceive a theatrical performance as a whole have become important once again. Selected theatrical performances point to different approaches and a different reception of a new theatre in two Slavic cultures.

Ako citovať:

ISO 690:
Podmaková, D. 2018. Divadelné paradigmy v súčasnej slovanskej kultúre Tematika vojny v divadelných obrazoch. In Slavica Slovaca, vol. 53, no.3-4, pp. 263-275.

APA:
Podmaková, D. (2018). Divadelné paradigmy v súčasnej slovanskej kultúre Tematika vojny v divadelných obrazoch. Slavica Slovaca, 53(3-4), 263-275.

Kľúčové slová: Documentary theatre, the war, immigration, Bertolt Brecht, Refugee Conversations [Разговоры беженцев], The Young Guard [Молодая гвардия], Svetlana Alexievich, War Does Not Have a Woman‘s Face [У войны не женское лицо / Vojna nemá ženskú tvár].