1st Slovak Theatre Manifesto

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.
The new esthetics of dramatical creation is being created by decompositions, diffusion of motivation, polythematization.
Diffusion of motivation is a symptomatic feature not only present in dramatic, theatrical reality. Decomposition of artefact results logically in its polythematization.
At the stage of the development of theatrical creation the stage characters are closed in a shell which has to be broken by the actor in order to present his own standpoint. Decomposition of theatrical characters is a qualitatively new phase of his creation.
The mission of an artist does not mean to confirm the existing values, but their permanent verification.
Blaho Uhlár

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.
Dramatic texts are needed only for less talented individuals who are not able to express themselves. 
Progressive theatre workers have been fighting for freedom of actors for centuries. Now it is the end of this period. We are at the beginning of a qualitatively new epoch in the history of theatre. 

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.
The undetermined, uniform character of theatre works provide possibility to create new associative thinking which moves the audience into the sphere of pure creativity.

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.
Having learned from history, we can be satisfied to proclaim that at this moment we have became classics.
In Tatra cafe in Prešov on the 30th October 1988 Miloš Karásek Blaho Uhlár

DECOMPOSITION MEANS

negation of the traditional structure of the plot
additive way of drama structure from the occasionally chosen and organized events emphasize on the unsequence and independence of individual
events and their absolute equality
depiction of the world by no narrative form which brings negation of the beginning and the end of the work permanent prove of no dramatization

THE AUTHOR THEATRE

total freedom of all participant active creators
liberation of actors from the dictatorship of the director the actor becomes an actor-creator 

DECOMPOSITION

activization of the audience and their subsequent liberation form the dictatorship of actors
the audience become creator 

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)