The artistic and non-artistic reasons for the manifestation of generationality in Slovak theatre in the second half of the 20th century
The artistic and non-artistic reasons for the manifestation of generationality in Slovak theatre in the second half of the 20th century

Summary/Abstract: The author analyses the development of Slovak professional theatre after the Second World War from the perspective of emerging generationally-related theatrical artistic teams. He notes that generational manifestations have always been conditioned by the 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 1960s brought about a release of social tension and in this period quite a number of active and trained young theatre artists stepped 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 underappreciated generational theatre was the Theatre on the Promenade. In the 1970s there was a tendency towards a generational theatre, especially in the theatres in Trnava, Nitra and Martin, but in all cases these were repertory theatres staging productions varying from generational proclamations of “otherness” to mainstream pieces. Clearly defined generational theatre was given the opportunity to develop only after the social upheaval in 1989.

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