K niektorým umeleckým a mimoumeleckým dôvodom prejavov fenoménu generačnosti v slovenskom divadle 2. polovice 20. storočia
Certain artistic and non-artistic reasons for the generational manifests phenomenon in the Slovak theatre in the second half of the 20th century

Summary/Abstract: The author analyzes development of Slovak professional theatre after World War II from the perspective of emerging generationally related art teams of theatre makers. He notes that generational manifestations have always been conditioned by social situation because the basic attributes of this concept are the uniformity of opinion and the ability to strongly articulate civic and artistic views in controversy and confrontation with the prevailing social atmosphere. The sixties brought along a release of social tension and at this period quite a number of university-trained young theatre artists active in theaters were stepping up against a strong group of older artists, who after years of schematism showed remarkable vitality and were able to absorb many elements of modern theatre. Thus ,the first undepreciated generational theater was the theater company Divadlo na korze. In the seventies, a tendency towards a generational theater was to be found especially in theaters in Trnava, Nitra and Martin, but in all cases these were repertory theatres with staging production varying from generational proclamations of „otherness“ to mainstream pieces. Theatre generationally clearly defined was given the opportunity to develop only after social upheaval in 1989.

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