Modern drama in its causal consequences and plot dependence cannot reflect
the complicated interpersonal relations, permanent variability of reality,
it cannot express metaverbal and yet undetermined social interaction of
a contemporary man.
THEATRE OF CRISIS Present state of the Slovak theatres is a tragic one. Majority of theatres are deeply rooted in the XIXth century, which depresses the remnants of the audience!!! by their traditional ideas on !!! entertainment!!!!! From powdered theatre portals permanently, and permanently, and permanently (shows its teeth) and develops an unprevented fixation balsam for the audience in well-tried positions of snobbish way of life. I really cannot see the reason why we - at the and of the XXth century - still pull the decomposed dead body of theatre conventions of the last centuries. The system of collective creation used here in the given performance tends to the solution of the problem which is totally ignored by the professional theatre workers. Instead of precise plot... in which we are presented by with the plot, expectations, climax and denouement, the authentic theatre is based on real human experience. In such a way the theatre becomes the means of expressing one's own view point, perform one's private characters. The main procedures to achieve this are decomposition, fragmentation, discontinuity, using chance and less determination. The performance which is being formed by the improvisation of all the members of the ensemble and subsequent precise fixation brings about new qualities which make it more rich and more natural. The use of accident, the refusal of plot and form, total believe in the natural way of things does not mean a working procedure only it is new system of thinking. Why an artistic work should improve a mission when it is its own explanation and excuse. Common sense is limiting. Miloš Karásek diploma architect (The manifesto was published in a bulletin to the performance A čo?
(And what about?) whose first night was on the 29th April 1988 in DISK
ensemble, Trnava-Kopánka)
2nd Slovak Theatre Manifesto TO THE NATION, NATION, NATION For 400 years it has been obvious that Shakespeare is dead. Some of
us even doubt whether he lived or not. All attempts for the reanimation
of this dead body were in vain. Let us stop these necrofile mistakes.
STRUGGLE FOR FREEDOM OF AUDIENCE Why a theatregoer should have been served with sterilized one-sided,
prepreapred material? If we have best regards and appreciation for the
audience in our theatre, we cannot make him to accept our viewpoints, our
attitude to life.
THEATREVIEWER AS A CREATOR A man who has bought a ticket to the theatre is not expected to play truant. POSTMODERNISM IS DEAD The individuals who are of postmodernistic ideas base their positions on the subjective character of creation which is the result of a longterm conceptualistic terror. Unfortunately onesided explanation of these works represent the same concept with the minus code. The theatergoer is neglected in the same way. Subjectivization is not a route towards objectivization. Away is the time when the author of any work could dictate its explanation to the audience. In the light of new aesthetic views author's own explanation can he considered only as one of many. Does he have any other links with the work then that he has created it? An honest author creates a supersubjective viewpoint. SUPERSUBJECTIVISM It is clear that our works will be talked about in a petrified form
thousand times, but they will never achieve the quality of original author's
ideas.
DECOMPOSITION MEANS negation of the traditional structure of the plot
THE AUTHOR THEATRE total freedom of all participant active creators
DECOMPOSITION activization of the audience and their subsequent liberation form the
dictatorship of actors
DECOMPOSED AUTHOR THEATRE WORK contributes to the improvement of the relations between actors and audience freedom for actors freedom for audience peace to the world (The manifesto published in an bulletin to the performance Ocot (Vinegar)
which had its first night on the l5th December 1988 in the Ukrainian National
Theatre, Prešov)
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