Pavol Haspra a jeho divadlo vášní a emócií
Pavol Haspra and His Theatre of Passions and Emotions

Summary/Abstract: A monothematic issue of the magazine the Slovak Theatre publishes the contributions which were presented at the 3 rd Theatrological Conference in the cycle Today and Here held in Banská Bystrica on 9th December 2005. The conference was organized by the Cabinet of Theatre and Film of the Slovak Academy of Sciences, the Faculty of the Historionic Arts of Academy of Arts, the Slovak Theatrological Society, the Association of Slovak Theatrical Critics and Theoreticians and the Association of Philologists Self-Help with the contribution of the Minister of Culture of the Slovak Republic, and the organizers formulated the topic Pavol Haspra – Theatre of Passions and Emotions. Pavol Haspra, a director who has been for the period of four decades an integral part of the Slovak National Theatre drama, is a significant personality of our theatrical history. There is his art that has remained. A long list of theatrical productions, even a more extensive map of his creative work for television, recollections of his contemporaries and co- workers, and his texts. The strongest weapon of a theatre is its contemporaneousness and vividness, which is at the same time its own curse, since storing a staging in a wardrobe, and waiting for a more favourable time for art and culture to come, waiting for the time when different aesthetic ideals would reign among the chosen, and then simply taking it out, is impossible. The conference initiator, a theatrical critic and historian Andrej Maťašík in the introductory study focuses on the characteristics of Pavol Haspra´s theatrical opinion. He observes that: It is known that by a stature, Haspra was quite short, but by his temperament and zest, and the ability to kindle others, by his eruptiveness and resourcefulness, he grew taller than his surroundings. To find him not in a hurry was quite rare, since he was thus trying to save the time needed to dedicate to his almost uncontinuous working. In line with the theatrical work, he was oen writing scripts for television and adaptations.[...]

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