Bratislava School of Scenography (14,1 MB, PDF)

- - ..-
© Ustav umeleckej
a divadelnej
Bratislava, 1
Jaroslav Hugan,
1. rocnik (1965/66)
Priestorova studia,
(nit, kov)
Rastislav Bohus,
1. rocnik (1968/69)
Priestorova studia
(papier)
J uraj Fabry,
1. rocnik (1976177)
Priestorova studia
(textil, kov)
z instalacie rystavy skolskych prac
vroku 1969
(Vystavna sieii na Dostojevskeho rade
v Bratislave).
Priestorove studie,
1. rocnik
Jarmila Opletalovti,
1. rocnik (1968/69)
Priestorova studia
(papier)
Ladislav Lajcha I BRATISLAVSKA
SCENOGR AFJC KA S KO L A
JlaJJ,HCJJa s Jia i1xa 1 BPATU CJJABCKA5!
CL(EH OTPA (f)l1 l.fECKA H lllKOJJA
K ed' uvazuje m e o ume lecke j s~o l ~,_o~ravne ne s~
spytuje m e na vysledky, kto re dos•~hh J~J _absolventJ.
Rovna ko j e vsak o po dstatnemi otazka !eJ
.
p red chod cov a p re dpo kladov, je j aktiv•ty v pne behu
I
I
desafroei.
k ·
Vy ucba scenogra fie na Divade lne j fak~ lte ~yso eJ
skoly muzickych ume ni v Bra tislave , kt~ra vzrukla
ro ku L949 a ko suca st kulturne j revolucJe, nem~hla
m at' le psie ho a podne tne jsie ho pre dcho d cu , nez bola
Skola ume leckych re m esie l, nasilne uzavret~ roku
1939. Lebo v case, ked' po roku 1933 v Berti n~ p~estal
posobit' Bauhaus, patrila k pokrokovym stred~skam_
vyucb y. Mc na pcdag6gov, a ko Josef Vydra, J.:~dov•t
Fulla , M ikulas G alanda, J aromfr Fun ke: Frantt~e~,
T roste r Julie H oro va ci Este r Sime rova nazn aCUJU,
aka bol~ o rie ntacia a d ucho vna n ap ln skoly. ~olo
vsak zj ednod usenim, ke by sa vz ni k scenogra_hcke~
sko ly z r . 1949 cha pa l a ko me cha nicke nadv•azame na
predoslu. L e b o no va sko la vzni kla uz na novom , ,
vysokosko lsko m zaklad e, v od l isny~h sp~loce ~skych
po dmie nkach s na rocnc jsim posla m m. Su ~u vsak .. ,
p rvky, kto re d ovo l'uju v icsf iste p arale ly. T •e t? spOJJVa
nie su institucio na lne, a le l'udske a osobnostne:
•
I F ra ntisek Troste r sa po roku 1945 do B ran slavy uz
nevra til. A ndre j Baga r, neskorsf re ktor sko ly, ako
inte nda nt S love n skc ho na rodne h o d ivad la ho do .
Bratislavy vola !, aby sa uja l funkcie sefa scenografie.
T roste r, uz pr ivcfmi s pary s reZisers k~m programom
J ih'h o F re jku , na miesto seba do B ratJsla~ vyslal
La dislava V ycho dila , kto rc ho s pozn a l v pne be hu
vojnovych ro kov.
.
I B ra tislavs ka scenogra ficka skola vzmkJa ak o
o dp oved' na na lie havc po treby d ivade lne j ~raxe. K~d'
L V ychodil ro ku 1945 prisie l, ocitol sa v d1Va d le sam.
K. pnici prizva l m lad e ho sochara D~njela Galik~.
Situacia n e bola le psia a ni v osta tnych sl~venskyc~
divadhk h : v Kosiciach bo l Ladislav Sestm~ ~ v Presove
M a rti n B r ezina , v Martine Frantisek Kud lac.
Nalie havost vyc hovy sccnic kych vytvarnikov sa
I
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adislav L ajcha I
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DIE BRATISLA VAER
'HULE FUR BUHNENBILDNERKUNST
Ladislav Lajcha I BRATISLAVA SCHOOL
OF SCENOGRAPHY
We nn von eine r Kunstschule die Rede ist, so fragt
I Whe never we think about a n art school, we are
zu Recht nach den Ergebnissen , die ihre
always duly interested in the achievments of its
lsolve nte n e rzielt ha ben. Ebenso berechtigt ist die
grad
u ates. H o wever, in this case, the school's history,
1ge nach ihren Vorgange rn und Vora ussetzungen,
its preconditions, and activity are equally
h ihre r Aktivitat im Ve rla ufeeines Jah rzehnts.
significant.
D ie Schule fur Buhne nbildne re i an der
I The D epartment o f Scenography at the Fa culty o f
lmuspie lfakulta t de r Hochschule fiir musisch e
Theatre Arts at the College of M usic and Dra m a in
nstc in Bratislava, die 1949 e ntstanden ist, konnte
B ratisla va, which was founded in 1949, could not have
•c bessere Vo rgangerin habeo, die mehr
a
be tter and mo re stimulating pred ecessor tha n the
· l'g ungen ge bote n h a tte , als die Schute ftir
School
o f Arts a nd C rafts, closed fo rcibly in 1939 . In
nsthandwe rke, d ie 1939 gezwunge n wurde, ihre
the
years
fo llowing afte r 1933, when Bauhaus had
l ' zu schlie Ben. D e nn zu d e r Zeit, d a nach 1933 das
d
its
activity in B erlin, the School o f Arts and
stoppe
li llhaus in B e rlin z u wirke n aufhorte, zahlte sie ZU
Crafts
in
Bratislava
ranked among the progressive
I •• fortschrittliche n Aus bildungsstatten. Die Namen
centres
of
learning.
The
names of the School's
I hier Lchre nde n - wie e twa J osef Vydra, I.:udovit
professors:
Josef
Vydra,
I.:udovlt Fulla, Mikula$
I 1111 1, M ikulas G a lla nda, J a ro mir Funke, Frantisek
G
a
landa,
J
a
romfr
Funk,
Franti~k Troster , Julie
I lo'itc r, Julie H o ro va od er E ste r Simerova- d e uten
Horova and Este r Simerova give u s a complex picture
111 we lches Oric n tie rung u nd G e ist dieser Schule
of bo th its orie nta tio n and ideolog ical te nden cies. It
\\ Ill n. Es wurde e ine V e re infachung be de ute n, woUte
would be a m atter o f sheer simplification to consider
111 • d ie nachfo lgende Schute fiir Buhnenbildne rei,
the ne w School of Scen ography o f 1949 a m echanical
II 1949 e ntstand, a ls a utomatische Fo rtfuhrung d es
contin u atio n o f th a t from t he pre-wa r years. The new
Vo• w fgegangcnen betrachte n. D e nn die neue Schute
school o rigina te d a lready on new, university basis in
111 1 ·tnd bereits auf de r neu e n Basis einer H ochschule
differe nt sociaJ cond itions, a nd influenced by the
111 1nnerbalb ga nz andere r gesellschaftlicher
trends o f the period. Ye t there are some ele m e n ts
It d •tgungen und Ziele. D ies sind jedoch E le m en te,
e
nabling us to find severa l features the two sch ools
II c cr la uben , gewisse Pa ra lle le n anzufiihre n .
have
in commo n tho ugh t hey a re no t o f institutio na l
11 Ill Verbindungen sind nich t insti tutio ne Ue r,
bu
t
human
char acter, associated with ma ny great
rn m en schlicher und persOnliche r An.
personalities.
war nur e in Z ufa ll, da B Fra nti~k Troster nach
I A s chance wo uld have it Fran tisek Troste r did no t
nicht me hr nach Bra tislava zuruckkehrte .
re turn to Bra tislava after 1945. Andrej B agar,
11 1, •j Bagar, d e r sp ate re R ektor d e r H ochschu le ,
director o f the Slo vak Natio na l Theatre and later
1 lr a ls In te ndant des Slo wakische n
R ecto r of the College, invite d him to Bra tislava to be
111 , na ltheaters Troster nach Bratislava be rufe n ,
the head of the D e p artme nt of Scenography. At that
el l! Ill d ieser hier d ie Funktion e ines Leite rs d er
time, Troste r was too much absorbed and invo lved in
llunncngesta ltung wahme hme. Troste r, d er be reits zu
director
Ji rl Frejka's progra mme a nd sent Lad islav
·lu rnit dc m R egie progra mm Jifi Frejkas verbunden
Vychodil,
who he had got acquainted with during the
\\ 11 c ntsandte Ladislav Vychodil, den er im Laufe der
time,
to
Bratislava instead.
wa
r
1<1 u gsjahre kenncngele rnt h atte, statt seine rnach
ll1 11islava.
I The orig inatio n of the Bratislava School of
Scenography was actually a r espo nse to the urge nt
D ie Bratislavacr Schu te fur Buhnenbildnerei
need o f theatrical practice. Whe n V ychodil a rrived in
c 111 ta nd aJs R eaktio n a uf die dringliche n B edurfnisse
Bratislava
in 1945, h e fo und himself alo ne in the
de 1 l"hcaterpraxis. A Is Vychodil 1945 nach Bratislava
and
asked D a nie l G a lik, a young sculptor fo r
theatre
ku1.1 fiihlte er sich a m Theate r aUe ingelassen . Er lud
coopera tion. The situation was far from bette r in other
cit n J mgen BiJdha ue r D a nie l Galik ein, hie r ta tig zu
theatres in Slovakia. La dislav Sestina was in Kosice,
' 111 A ber auch an d e n iibrigen slo wakischen
M a rtin Brezina in P resov, Frantisek Kudlac in Martin.
I he tern war die Situa tio n nicht besser: In Kosice war
11
I 11hslav Sestina tatig, in Presov M a rtin Brezina und in
Bagar zacaJ
vystupnovala , ked' AndreJ·
·
. uskutocnovaf
,
svoj program budovania siete profestOnalnych
, .
divadiel na Slovensku.
I V prvych sez6nach vypomahali ces~i vyt~armct.
Ich pomoc bola vefmi potre?~a,_p_retoz~ sv?JOU
ucasfou nazoacovali orientacm I ~rove~ tejt?
•
discipliny V ceskom diva~le. ~nze V dtvadlach D~
samom zaciatku existencte preJavovala sa potreba
organizacnej prace pri zria~ovani dielni ,
a zabezpecovaru divadelneJ p~ev~dzk~. Tu _neb_olo
mozne vykom1vat pohostinskymt vyst~peru~ffi-1.
Vsetko, vratane potreby d'alSieho zvys~varua ~rovne
remeselnikov a pracovnikov divadelne_J te_chniky,_ ,
viedlo k nutnosti co najskor vybudovat scenograhcku
v
skolu.
'
1 L. Vychodil prisiel do Bratislavy so za~ero~
rozvinut' umelecke ambicie. Pripadla mu vsak uloha
byt' aj organizatorom scen_ografie a divadelneho
diania najma vsak pedagogom.
I Ludovodemokraticke zriadenie po r~ku _1948
venovalo vefku pozornost' kultUrnemu dta?I~,
poskytovalo nemale prostriedky na rozvo~ di~adla~
i! 'l vznik divadelne j skoly na urovm umverztty.
umozm
o
, .
Do tych cias posobiace dramaticke konzervatonum
vychovavalo herecky, tanecny a operny _dorast, ,
neposkytovalo vsak moznost' rychovy dJvadelnych
vytvaroi'kov. Stav slovenskeho diva~la ~~ prelome
styridsiatych a patdes~atych roko~ SI'vyztadal CO
najcychlejsie obsadit rniesta sceruckych_ .
,
a kost:Ymorych vytvarnikov. Lebo nove dtvadla
(Zvolen, Zilioa, Nitra, Dedinske divadlo, Mad'ar~ke
oblastne divadlo v Komarne, Ukra~inske narodne
divadlo v Presove) sa zrodili bez pnmer~ne~o
materialno-technickeho zazernia, bez dlelm
a skladov.
,
I Ak herecky a herci mohli prist z ochotmckych
kruzkov' to iste nebolo moine ocakav~f vo sfere
..
scenografie. Bolo priznacne, ze k:Ym sub?ry s~ zaplmli
skusenymi ochotruckymi hercami a her~ckamt, ,
maliari a sochari sporadicky navrhova~t s~en~. T uto
cinnost' chapali ako kuri6znu skusenos~, me v~ak ako
predmet celozivotneho ~auj~u: Po kra~kom case
divadlo opustili - neboh nan pnpravem.
IMtin Frantirek Kudlac. DieAusbildungvon
uhnenbildnern wurde noch dringender erforderlich,
Andrej Bagar seine Plane durchzufiihren begarm,
• Netz professioneller Theater in der Slowakei
• ,;~,ubauen .
Tn den ersten Spielsaisons halfen tschechische
lclc nde Kiinstler aus. Ihre Hille war sehr notwendig,
1n sie batten durch ihre Beteiligung Orientierung
' 1d Niveau dieses Faches beim tschechiscben Theater
I timmt. Allerdings ergab sich bei den Theatern
I 1ch zu Beginn ihres Bestehens die Notwendigkeit
·r organisatorischen Tatigkeit bei der Einrichtung
m Werkstatten und der Durchfi.ihrung des
I 11terbetriebs. Dieser konnte nicht durch
tauftritte aufrechterhalten werden. Alles,
1 •\·hlie.Blich des Bediirfnisses, das Niveau der fiir das
II• 1ter Hitigen Handwerker und Technikerweiter
1heben, lief auf dieNotwendigkeit hinaus, so
ndl wie moglich eine Biihnenbildoerschule
ubauen.
1 Vychodil war mit der Absicht nach Bratislava
~rn men, bier denkiinstlerischen Ehrgeiz zu
1' l rn. Es fiel ibm jedoch die Aufgabe zu, auch
11 misator der Biihnengestaltung und des
I h ltcr betriebs zu werden, vor allem sollte er jedoch
I I brer in Erscheinung treten.
948 widmete das volksdemokratische System
n
kulturellen Geschehen greBe Aufmerksamkeit;
nep,aroroM.
948
1
I
1
unerhebliche Mittel wurden zur Entwicldung
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tH<tll'hung einer Schauspielschule auf
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ltttvc rsitatsniveau ermoglicht. Bis dahin hatte das
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h lllspielerinnen, Tanzerinnen und den Nachwuchs
1111 he Oper ausgebildet. Es hatte jedoch nicht die
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" onepHblX nesl\OB, He Aasana so3MO)I(HOCTh o6yt.taTh M· hchkeit geboten, auch Biihnenbildner
l11
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cnosal\Koro TeaTpa Ha py6e:>Ke copoKOBbiX"
H OSITHAeCSITbiX rOAOB Tpe6osanO BKpaT'laHWI1H cpOK 1. 1\ Jkischen Theaters es, in kiirzester Zeit die SteUen
vnn Btihnenbildnern und Kostiimgestaltern zu
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1(, ~ 1onaltbeater in Komarno und das Ukrainische
N111mnaltheater in Presov) waren entstanden, ohne
YKpaH.HCKliH Hal\IWHanhHbtWrea;p sr. 11pewos)
lll u, cine angemessene materielle und technische
HJIIKJIH
6e3
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l1
803
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I up rraume.
11 cKnap,os.
I f onnten Schauspieler und Schauspielerinnen aus
K1t cscn des Laientheaters kommen, so war das im
lkrcich der Biihnenbildnerei mit Sicherheit nicbt zu
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v
(12 (D )
When Andrej Bagar began to implement his
programme of building a network of professional
theatres throughout Slovakia, the necessity to train
scenographers-professionals culminated.
I Czech artists helped in the first seasons. Their aid
was more than necessary, as they drew on the
orientation and standard of scenography in Czech
theatres in their work. At the very beginning of the
theatres' existence there arose an urgent need of
people capable of conducting organizational
activities, able to equip workshops, and run theatres.
All this could not be substituted by guest
performances. All - including the need of more
quaJified craftsmen and technicians in theatres,
resulted in the necessity of building a school for
scenographers as soon as possible.
I L. Vychodil arrived in Bratislava to develop his
artistic ambitions. However, his flight was somehow
curtailed. He had to be alsotheorgaoiserof
scenography, theatrical activities, and a teacher in
particular.
I After 1948 the people's democratic establishment
paid great attention to culture, spent large sums of
money on the development of theatres, and made
possible tne foundation of a theatrica• school of
university standard. TiU then it was the Bratislava
Dramatic Conservato.ire which trained young actors,
dancers, and opera sipgers. However, there was no
course for scenographers. At the turn oi the 'forties
and the 'fifties Slovak theatres were in bad need of
stage and costume artists. Moreover, the new theatres
(Zvolen, Zilina, Nitra, the Country Theatre,
Hungarian Regional Theatre in Komarno, and the
Ukrainian Theatre in Presov) came into being without
workshops and stores for scenery.
I Actresses and actors could pass from amateur
theatres to professional ones, but nothing of that kind
could be expected to happen in the sphere of
scenography. It was a common practice of the period
that experienced amateur actors and actresses joined
professional ensembles and painters and sculptors
sporadically designed settings. They considered it
a curious experience, but by no means the subject of
their life-longinterest. Sooner or later they quitted
theatres. They were not trained for such kind of
work.
I L. Vychodil had no intentions to renew the former
Gita Pol6nyova,
1. rocnik
(1970/71)
Zostudi1
protikladov
(Noc)
Gita Pol6nyova,
1. rocnik
(1970/71)
Zostudii
protikladov
(Den)
1 L. Vychodil chcel vyucbu postavit' na
vysokoskolsko m zaklade. Tym skor, ze v to m case u~
vysoka divadelna sko la - Divadelna fakuJta YysokeJ
skoly miizickych ume n l v Bratislave - bola
skutocnosfou . Ne bo lo pochyb, ze scenografia ako
odbor na tiito skolu patrL V tom to po ma haJ a j prlklad
Divadelncj fak ulty A kademie miizickycb umeni
v Pra he, kde katedru scenogra fie viedol Frantisek
Trostcr. Pre linanie scenografie s vjucbou reZie ,
dramaturgic, herectva a teatrol6gie as hudobnou
fakultou mo hlo p rospieivsetky m. D o ba, oplyvajuca
budovatefsk)fm nadsen lrn s vefkymi perspektivnymi
p lanmi, ty mto zamerom zicila. O d roku ~951 - dva
roky po vzniku Divade lnej fakulty- Lad1slav
Yycho dil s Martinom Brezino m mo hli zacat'
svyucbou.
1 Divadelmi prax v prvych rokoch urcovala aj
charakter skoly. Siicasne vsak sko la vp lyvala aj na
prax, n ajma vsak n a postave nie sceno~rafie ak~
discipHny. Kedysi divadelni vytvarnicJ pracova h ako
maliari d e kon1cil. Bratislavska scenografick<Bkola
vznikla na opacnych, protide ko rater skych principoch
ako priestorova discipllna, a koskola nadvazujuca na
tendencie priestorovo chap an eho d ivadla
v medzivoj novych rokoch. Postupne, ked'
scenog ra fovi a zaeali zaujimat eoraz vyznarnnejsie
postavenie po pri maliaroch, grafikoch a socharoch,
zvysoval sa kredit scenografie a ko o d boru.
PoZiadavk a, a by studenti pred zaciatkom studia
scenografie najprv a bsolvovali styri semestr e bud' na
S lovenskej vysokej skole technicke j (architektiira)
a lebo na Yysokej skole vjtvarnych ume nl (mafba),
vyvolala rcspekt. v takom pripade vstupovali priamo
do treticho rocnlka skoly. Tym sa zabezpecilo, ze
stude nti prichadzati odborne priprave ne jsi a fudsky
zre lsl. Yyucba scenografie sa mohJa zacat' na vyssej
urovni s predpokladom, ie a de pti ziskali zakJadne
poznatky na inych skolach . Tym sa scenogr afia aj
v ociach verejnosti javila a ko vynimocne narocn y
studijny odbor. Pokiaf islo o dliku studia, v to m case
sa so scenografiou mo hla me rat' le n me dicina
a architektura.
I Ecmt aK1"Cp b1 11 a KTpHChi MOrnw npwi1nt H3
ni06 HTCJibCKHX Kpy)!(KOB 8 n po<jJeCCHOHaJibHbiH
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TeaTpanbHoro " MY3biKaJibHOro wcKycCTsa a Ilp are,
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TeaTp anhHOro <jJaKynbTeTa - JlaJ(HCJias BbiXOAHJI
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npe.Qon peAcnRna 11 xapaKTep wK01lbt. Ho
OAHOBpCMe ~IHO WKOIJa OKa3biBaJia BJII1S1HHC Ha
npaKTHKY, npc)I{J(C BCCTO Ha MCCTO Cl(CHOrpa<jJI1H K3
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v trte n. W ahrc nd die Theaterensembles durch
hrcne Laicndarsteller erganzt wurden, wares
lucichnend, daB die Biihnenbilder bin und wieder
1 Malern und Bildhauern entworfen wurden. Diese
kcit wurdc von diesen als interessante Edahrung
ehen, nicht jedoch als Gege nstand einer
1~>Iangen Betatigung. Nach kurzer Zeit kehrten
m Theater d e n Riickeo , - es fehlte ihnen die
tluung.
Vychodil h atte oicht die Absicht, eine zweite
de dcr Kunsthandwerke, wie sie einst bestandeo
I 11ls Leben zu rufe n ; erwollteeineAusbildung
I 11.:hschulbasis einrichten. Und dies um so mehr,
nals cine Hochschule ftir Schauspielkunst, die
1 1 piclfakultat a n d er Hochschule der musischen
to 1n Bratislava, tatsachlich existierte. Esgab
I 1 1 Lweifel daran , daB die Billmenbildne rei a1s
I n <iicsc Hochschule gehorte. Hierbei erinnerte
h• ,Jil an das Beispiel der SchauspieHakultat an der
k u mic d cr musischen Kiinste in Prag, an der
I 1 111 • ·l k Troste r den Lehrstuhl ftir
hlu •tbildncrkunst leitete. Die Yerbindung der
ll llaru thildncrei mitdem Unterrichtio
I
f1 1hrung, Dramaturgic, Schauspielkunstund
IIi 1 1 wisscnschaft sowie mit einer
Wtsscnschaftlicheo Pakultat sollte allseitig
1od ' t>in. Die damalige Zeit, die gepriigt war von
•t •·.terung des Aufbaus und groBen
k t1vc n und Planen, begtinstigte solcbe Ziele.
m lahre 1951, nurzweiJahrenacbGriindung
IUspielfakultat, konnten LadisJav Yycbodil
t tin Brezina ihre unterricbtlicbe Tatigkeit
hntcn.
l11c aterpraxis war in den ersteo Jahren auch
11 C harakter der Hochschule bestimmend.
h Cttig wirkte die Schule jedocb aucb auf die
1. 1ruck, insbesondere auf die Stellung der
I lin uniklnerei als Fach. Einst batten die fiir das
I h 1l 1 l;itigen biJdende n Kiinstler als
It 1 ttto nsmaler gearbeitet. Die Bratislavaer Scbule
lh I tth tL'nbildnerkunst entstand auf der Basis
nt
n~esctzter Prinzipien, die das
)t lw ttf•urhafte negierten, als eine Disziplin der
1111 • ' taltung, als eine Schule, die an Tendenzen
I J tlumverstandnisses beirn Theater der
wl h nkriegsjahre ankntipfte. In dem Ma8e, da die
ltll1 nLildner ne ben Ma lern, Graphikem und
hlh unn e ine immer bedeutendere Stellung
Inn hm n, nahm die Glaubwtirdigkeit der
llhn nbtldnerei als Pach zu. Die Forderung, daB die
Arts and Crafts School. H e wanted a school of
university standard which was quite natural, as the
Faculty of Theatre Arts at the College of Music and
Drama in Bra tislava had already existed. Without any
doubt, scenography was fully entitled to occupy an
adequate position there. The D epartment of
. Scenography, headed by Frantik k Troster at the
Faculty of Theatre Arts at the College of Music and
Drama in Prague was setting a good example.
Coupling scenography with directing, dramaturgy,
acting, thea trology, a nd with the subjects lectured at
the College of Music must h a ve been bene ficial for all.
The period, pregnant with building enthusiasm and
great perspective p lans was favourable to such
intentions. Since 1951, two years after the Faculty of
Theatre Arts had been founded, Ladislav Vychodil
and Martin Brezina were able to start teaching.
I In the first years theatrical practice determined the
characte r of the School. At the same time the School
was influenced by practice, particularly the position of
scenography as an autonomous discipline. In the
olden days artists in theatres were actually scenic
painters. The Bratislava School of Scenography,
howeve r, originated on the opposite, a ntidecorative
principles, as a school linking up to the tendencies of
space conception of theatre, having its roots in the
inter-war years. Step by step, as sceoographers began
to occupy more significant positions besides painters,
graphic artists, and sculptors, the credit of
scenography as a discipline began to increase.
Students of scenography were claime d to attend first
four terms either at the Slovak Technical University
(architecture) or at the College of Visual Arts
(painting) before they started to study scenography
proper. This was a great thing which evoked due
respect. In such a way they enrolled in the third course
actually, much more experienced and mature.
Lectures in scenography could start at a much higher
level on condition that the students bad already
acquired the basic knowledge io other schools. All this
caused that scenography began to be considered as an
extremely demanding subject by the public. As to the
length of the courses, only medicine and architecture
could match scenography at that time.
I This criterion proved to be a great asset for the
creative activities of sceoograpbers after graduation.
Even after many years we can make out from the
1 Toto kritcrium prijfmania na ~kolu sa ukazalo ako
klad v tvo rbe sccno grafov po absolvovaoi ~koly. Aj po
ro koch mozno zo scenograficke ho ruko pisu urCit', ze
J a n Ha nak, Vladimir Suchane k ci H e le na B ezakova
presli ma liars ko u prfpravou , kym Otto S uja n, Jan
Zava rsky ci T omas Berka archHe ktonickou. Roky
pred studio m scenografie vo vefke j mie re uro li aj ich
vyhra ne nosi po s ko ncenf stud if.
. '
1 Ska la po svoj o m zalozenf zila v llzkom p re p oJe m
s divade lnym dia nfm . J estvujuce pomery
ne dovorovali ryucbu to ho typu, ak a je p rizn acna pre
sko lu dnes. Prva gene racia - Pavol M. G a bo r, O tto
Suja n a J a n H a na k - spo lupracovala s L. Vychodilo m
priamo v di vade lnc j praxi. L. V ychodiJ bot naplno
zapo je ny d o ume lecke j prace v Slo ve nskom
na rodno m divadle. Vy ucbu uskutocno val tak, ze
zia kov pribral d o vsetkeh o, co ro bil sam. Ate lie ro vy
typ vyucby s nasad e nlm v divad e lne j produkcii sa
ukazal a ko ryho dnyv to m, ze prechod rnladych
absolve ntov do divadie l bo t organ icky.
1 L . Vycho dil s dobro u znalostou deskriptfvne j
geome tric ve d c l svo jim zia ko m ukazat', ako mozno
vystavat barokovu re liefnu scenu, j e j j ed notlive
priestor ovc pla ny a zvladnut pro porcie casti. P oskytol
im dobru pro fesio na lnu pripravu, co sa ukazalo
v nasledujucich desatrociach , ked' sa z me nila
divade lna poctika a o ptika. Prva geoe racia presla
prudkymi zvra tmi, kto rc! suviseli s celkovou pre me oo u
diva dla. H a nak, G abor a Sujan o bstali v te jto skuske
pre me ny a pre sme rovania te ndencif v divadle .
,
V ychodilo va me t6da vyucby sa ukazala ako plo~na
a inspirujuca. Ind ividua lne sled ovala typy m la dych
vjtvarnfkov a vychadzala v ustre ty ich ume lecky m
a mblciam.
1 Odlisnosti v po rovna nf s dnesno u ryucbo u
spocivaju o kre m inc ho a j v tom , ze vted y stude nti UZ
pocas studia vo vy~slch rocnikoch zaeali pracov ai
v kraj ovych divad lach . Vyn(•til si to akutny
nedosta to k scenografov v divadhich. z hfadiska
dnesnych p o me rov sa moze te n to postup javit' ako by
v rozpore s princlpmi p ed agogiky, a le vte dajsie
o ko lnosti divad e lnej pnice ho zd ovo dno va li.
xyi(O)I(IDIKH- OOC'f 3110BU(HKH 33HHMaJHl ace 6onee
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hlPI'ICnden vor BeginnihresStudiumsder
·nhildncrei zunacbst vier Semester entweder a n
~ 1 1wakische n Technischen Hochschule
(Ar , •tcktur) oder an der Hochschule der bildenden
1111 (Malcrei) zu absolvieren hatten, erregte
Rt "I 1 t. In diesem Fall wurde man direkt in den
ltrltt J ahrgang d e r Schute aufgenommen. Damit
•iihrle istet, daB die Studierenden fachlich
.. o rbereitet und menschlich reifer waren. Die
lu ng zum Biihnenbildner konnte unter der
.ctzung, daB die Studierenden ihre
c nntnisse an andere n Schulen erworben
.o a uf einem hoheren Niveau ansetzen. Somit
• d as Studium der Biibnenbildnerei auch in
•en der Offentlichkeit als ein Fach von
' Anspriichen. Was die Lange des Studiums
, konnten sich damalsnurdie Medizin und
~ tur mit der Biihnenbildnerei messen.
l l1• t•s Au(nahmekriterium erwies sich als Vorteil
r til• I •tigkelt der Biihnenbildner nach AbschluB
r 1 ' · hula usbildung. Selbst nach Jahren lieB sich
111111 der biihne nbildnerischen Handschrift eines
II 111 1k. Vladimir Suchanek, bzw. Helena
k1 1s c rkcnnen, daB sie eine Ausbildung a ls
llt>SSCO batten, wahrend Otto Sujan, J an
md Tomas B erka von der Architektur her
11 I •rc Jahre vor de m Studium der
ld nere i bcstimmte n so auch in groBem
dt A usrichtung, die ihre Ve rtreternach
1 ~~ des Studiums habe n soUten.
ule fiir Biihnenbildnerkunst lebte auch
'; riindung in cnge r Verbundenheit mit dem
am Theater. Die damalsexistierenden
iltn1 o;;c c rlaubten keine A usbildung der Art, wie
1111
r d ie Schute kennze ichnend ist. Die erste
1 1 Pavol Gabor, Otto Sujan und Jan
rheitete mit Vychodil unmittelbar in der
'llrnxis zusammen. Vychodil war gaoz in die
he Praxis des Slowakischen
11 ,,tcrs e ingebundcn. Seine unterrichtliche
nhtc e r so a us, daB er seine Schiiler an a llem
i " licl3, waser se lbstmachte.DerTypusvon
111 h lldung mit E insatz bei der
lrnd uktion erwies sich dadurch als
·Hdcr Ubcrgang der jungen Absolventen
ll.!rn sich in organischer Weise vollzog.
<•d il. de r tiber gute Kenntnissein
I r Geometric verfiigte, verstand es, seinen
u 'cigcn , wie man eine Biihne mit
~ ·lief und ihre einzelnen RaumpUi.ne
IUlh
styles of individual scenographers what kind of
training they had gone through. Without any
hesitation we can state that Jan Hanak, Vladimir
Suchanek, and Helena Bezakova studied painting,
whereas Otto Sujan, Jan Zavarskyand TomasBenka
devoted themselves first to architecture. The years
before they actually began studying scenography
determined the clear-cut character of their works after
graduation.
I Afte r its foundation the School's activities were
closely connected with theatrical practice. In those
days the conditions prevented the School from
pu rsuing such a way of te aching as today. The first
generatio n: Pavol M. Gabor, Otto Sujan, and Jan
Hanak cooperated with Vychodil right in the theatre
and in practice. Vychodil was fully engaged in his
artistic work in the S lovak N a tiona! Theatre. He
taught his students by doing everything together with
them. Studio type of teaching and direct participation
in theatre production proved to be a great plus as the
young graduates got from the College to the theatre in
a n uninterrupted o rganic process.
I L. Vychodil, having a good command of
descriptive geometry, was able to show his students
how to build a baroque relief setting, its individual
space planes and at the same time to cope with the
proportions of the parts. He gave them a good
professional training, which manifested itself in the
following decades, when theatrical poetics and optics
changed. The first genera tion went through abrupt
changes, connected with the overall theatre
transformation. Hanak, Gabor, and Sujan passed this
, examination" having been able to cope with aU
transformations and changes. Vychodil's teaching
me thod proved to be fruitful and inspiring. He
pursued the young artists individually and met the
demands of their artistic ambitions.
I The difference between present day way of
teaching and that in the past consists a lso in the fact
that in those days a lready the stude nts in higher
courses began to work in country theatres. That was
caused by the needs of the theatres. From the aspect of
today's situation this method may seem to be
incompatible with the principles of pedagogy, but the
conditions of the period fully justified it.
I At the beginning of the School' s existence
Vychodil set an example by his artistic work and
Marta Rozkopfovo,
I . rocnlk (1968/69)
A . E. Poe: Cervena s mr(
t\
Vladimir Cop,
1. rocnfk ( 1978179)
Skica dramatickej postavy
na hudobnu temu
Vladimir Cop,
1. rocnlk ( 1978179)
M aketa dramatickej postavy
na hudobn(• tcmu
(krajcfrska figurfna,
papicr, plcxi)
.Strzelecki
loubtedly the Bt atislava School of Scenography leu by
or I adi~lav Vychodil and Sen ior Lecturer I udmila Purkynova
f the most interesting schools I know (England, f ranee, the
nion. the U.S.A .• and Finland). J find the combinatic)n c)f the
~training with work in the moucrn theatrical workshops of the
1\ .1k National Theatre, perhaps the hest in Europe. to be the
ho( I ., mo:>t attraclivc a~sct. That is why the graduates fJ om the
II
trc wdl trained for the wor k in theatre. All subjects ~tress tlwl
1111 l.tphy is~~ space d iscipline. that is why the training is oricnh.:d in
Ill w tV Some schools pay attention first of all to designs, hut th~
1 Il l l1v.t School of Scenography deals above all wit h the process
l1 11 1 la<:c from the completion of the design to its mt~tcrialization in
1
lion with directors and actors. One cannot be taught how to be
111 hut one can be definitely taught theory ;md practice. At this
h 1 , Slovak and for cign students have learned all they need for
ll k 111 theatres. No one can trajn visionaries like Appia, let us
hodils, they arc not only visionaries but practitioners as
,,
I
V pociatocne j faze L. Vychodil vplyval prik ladom
svo je j ume leckc j prace a o sobnosti. Cerpal zo svojich
poznatko v z praxe, zo sme ro va nia a urovne ceske ho
d ivadla . A k si sam posta vil (tlo hu d osta t s lo vc nsku
scenografiu na vysoku urove i'\, nepriamo tym da l cie f
aj s ko le, kto ru vted y s Marti no m Brezino m
vytvarali .
I Syste m vychovy posta vil na principoch rozvija nia
ume lecke j vnlmavosti stude n tov, ktorych skola mala
vies( k scho pnosti o bjavovat po d statu ume lecke ho
zazitku. T e n po to m ma li vediei realizovai vo sfe re
scenografie. U ved o mova l si z lozitost vy ucby
scenografie, ktoni musela respektova ( je j divade lny
ch arakte r ; nesme la zane dba va ( vytvame rycho disko
a sucasne bra ( sta le do (tvahy neodde lite fny prvok
techniky. Bez ne j by bola neuskutocnite fna. Ve de l, ze
bez zvla dnutia archite ktury, ma liarstva a sochar stva
ne mozc scenograf uspie t' v divade lnej praci. Ade pt
okre m vlastnej tvorive j ume lecke j prace muse l
rozvfjat' aj raciona lne prfstupy; pre h lbovai svoje
w a lo sti v teore tickych pre dmetoch . Musel sa
zozna mit so za kladmi sccnickc ho vytvarnictva,
a rchite ktu ry, mo de lo vania, kresle nia, d eskriptlvne j
geome tric, kostymu, s d e jina mi ma lia rstva, socharstva
a scenografie; s technikou osve tfova nia a s divad elno u
techniko u vobec. R ovnako sa muse ! zozna mi( so
zakladmi fo togra fi e a fyziky. Ne mo ho l neb yt' vzd e lany
v rezijnej tvorbc a v d cjimich dnim y. Musel si sueasne
pre h lbo vaf fi lozoficke a j azykove znalosti. Pravdaie,
to to bo la le n cas( ry ucby, kto ra pre bie ha la pria mo na
skole. Je j neoddelitc fn o u sucastou bola pnizdninova
prax v die h1ach a mafo va nie v priro de.
I U z z naznaccnch o vypi9Ya, ze mlady scen ograf
muscl pre jsf v priebehu studia viacerymi sfe ra mi
vyucb y. Zvycajne ai prax mu p o tvrdila, ze tato slrka
zabe ru mu nesko r po mo hla pre niknut do p od staty
scenografickcj tvo rby.
I Ne mozno si o dm yslie ( fakt prostre dia, do kto re ho
mladf sccnografovia uz pocas studia prichadzali.
V divadhk h sa ich prfchod prijlmal ako vftami
p omoc.
I L. Vychodil ako ped ag6g vsak stude nto m
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{22)
I' ·stalte n kann und wie man die ProportioneD der
'l l·ile in de n Griff bekommt. Er vermittelte ihnen eine
l' •te professioneUe Ausbildung, was sich in den
It ,lge nden J ahrzehnte n zeigte, als sich die Poetik und
1 >tik d es Theaters wandelten. Die erste Generation
. le bte jahe W endungen, die mit dem gesamten
mdel des Theaters zusammenbingen. Hanak,
• 1bo r und Sujan bestanden diese Priifung des
tndels und der Richtungsande rung in den
·atertendenzen . Die Ausbildungsmethode erwies
1 als fruchtbar und inspirationsfordemd. Sie paSte
1 den Typen der jungen Kiinstler individueU an und
n ihren kiinstlerische n Ambitionen entgegen.
Der U nterschied zur he utigen Ausbildung beruht
• darauf, daB die Studierenden damals bereits
u end der le tzten Jahre ibres Studiums an den
1 vinztheatem ihre P raxis aufnahmen. Die an d en
r Ill atem herrsche nde Notsituation machte dies
1 t torderlich . Unter d em Gesichtspunkt heutiger
V l rhiiltnisse mag cs scheine n , daB dieses Verfabren
1r Widerspruch zu den Prinzipien der Padagogik.
til md, d och wares durch die damaligen Umstiinde in
d Schauspielpraxis begriindet.
I In der Anfangsphase beeinfluBte Vychodil die
s~ I tie durch das Beispiel seiner kiinstlerischen
1 r~keit und sein e r P erst>nliehkeit. E r schopfte aus
Ke nntnissen, die er am tschechischen Theater,
lessen Praxis, Zielsetzungen und Niveau,
moen h atte. W enn e r sich die Aufgabe gesteUt
' , der slowakischen Biihnenbildnerlrunst zu
rn hohen Niveau zu verhelfen, so setzte er indirekt
d cr Schule, die e r d a mals gemeinsam mit Martin
Lina ins Leben rief, solche Ziele.
.r begriindete die Schule auf den Prinzipie n einer
a Itung der kiinstlerischen Sensibilitiit der
St Jerende n , die durch die Schule zu kiinstlerischer
I
b nisfahigkeit gefiihrt werden sollten. Diese
,.. ten sie dann im B ere ich der Biihnengestaltung
1t
tsieren ko nne n . Vychodil war sich der
K· mplizicrtheit de r Ausbildung zum Biihnenbildner
' " "UBt, bei der auch de r Schauspielcharak.ter
11 1ck tiert werden muBte; der bildnerische
A 1• gangspunkt sollte nicht ve machlassigt werden,
un 1zugle ich muBte die Technik als ein unumgiinglich
n -.'Cndiges Element Beachtung finde n . Oboe
It tcre war e in Biihnenbild nicht durchfiibrbar.
V hodil wuBte, daB der Biihnenbildner ohne
I ninanz der Architektur, Malerei und
H h auerkunst in der Schauspielpraxis nicht
cr 1lgrcich sein kann. Neben der eigenen
)
personality. He drew o n his e xperience in pratice, as
well as on the tendencies and standard of Czech
theatre. Since he himself laid out his objective to make
Slovak scenography that of high standard, indirectly
he laid o ut the school's aim too, h aving been
establishing it together with Martin Brezina in those
days.
I He based the School on the principle of the
development of stude nts' artistic perceptiveness. The
School was to guide them to acquire the ability of
artistic experience. The students were to further
develop and materialize it in the sphere o f
scenography. He was fully aware of the complicated
character of scenography teaching. H e had to take
into account scenography's theatrical ch aracter, not to
neglect artistic starting points, a nd at the same time to
take permanently into consideration its inseparable,
technical e le me nts. Without technology, scenography
would be no n existe nt. H e knew that without
mastering the skills of architecture, painting, and
sculpting, a scenogra pher could never be a success.
Besides his or her creative artistic activity, the adept
had to develop also rational disciplines, to make his
knowledge of theoretical subjects more profound. He
b ad to get acqu ainted with the basics of stage art,
a rchitecture, sculpting, p ainting, descriptive
geometry, costumes, with the history of painting,
sculpture, and scenography. At the same time he had
to be familiar with the basics of photography and
physics. He could n ot be an ignoramus in directing and
history of drama. Hand in h and with studying
philosophy he had to study languages. Naturally, all
th is was only a part of the teaching programme which
took place directly in school, n o t speaking of holiday
practice in workshops and painting in the open which
were a nother inseparable components of the ir
training.
I It e nsues a lready from the afore mentioned
enumeration o f ,mu sts" that as a student, a young
scenographe r had to go through several spheres.
Many a time did the younggraduaterealizeonlyin
practice that it was just this , unnecessarily ample
scope of knowled ge" which he lpe d him to understa nd
the essence of scenography a nd avoid several
pitfalls.
I A s a pedagogue L. Vychodil was far from
promising his students ideal working conditions. He
nesfuboval ide aJne p racovne podmienky. Studentov
skor viedol k tomu, a by svoju tvorbu stavali na dovtipe
a fantazii, na jednoduchom a ucelnom riesenf, ktore
nevychadza zo zlozitej techniky, ale ktore naplni
zasadu - jednoduchymi prostriedkami dosiahnut'
maximatny ucinok. Viacere divadla na vidie ku v tom
case absolvovati pocetne zajazdy a hrali v priestorocb
kulturnycb domov, ktorych dispozicie oedovofovali
nijake zlo:Zite riesenia. Pruz nost' sce nografa bola
prvym predpokladom jeho zivotoosti v procese
divadelnej prace. L. Vychodil ako pedagog vycbadzal
zo stavu divadiel, suborov i ambiciirezie .
Ne vychovaval e xkluzlvnych vytvarnfkov pre
e xkluzivne divadla. Nic take v slovenskych pomeroch
ani nejestvovalo. Pretrvavajuce pome ry v divadlach
a minimalna nadej, ze sa v kratkom case vse tko nahle
z meni, nutilo mladych scenografov rozvljat typ
scenografie, ktory by staval na inych predpokladoch,
ne:Z je divadelna masineria. Po rokoch sa v divadelnej
praxi ukazalo, ze toto smerovanie tvorby moze
priniest pozoruhodne vysledky. Aktivita Vladimira
Suchanka, Jozefa Cillera, Stefana Hudaka a d'aiSich
len potvrdila uvedenu orientaciu ako perspektivnu.
I Analogicky aj v e ur6pskej scenografii sa zacata
presadzovat' akcna scenografia, ktora bola v sulade
s intenciami mladych slove nskych divade lnych
vytvarnikov, ako aj me t6dami ryucby na bratislavskej
scenografickej skole. Naostatok pozitivny ohlas skoly
v medzin:hodnych relaciach a prfliv zahranicnycb
studentov ukazali opravnenostnastupeneho trendu
a je ho produktfvnost'.
·
I J.:udmila Purkyiiova roku 1955 svojim vstupom na
skolu dala nov)' podnet vyucbe divade lneho kostymu.
Kym Ladislav Vychodil sa sustredil na scenografiu
z hfadiska jej priestorovych moznosti, I.:udmila
Purkynova sa upriamila na koscym ako dominujucu
sferu svojej divadelnej a pedagogickej aktivity.
Ladislav Vychodil v prvom desat'roci skoly vykonal
zakladatefsku pracu, urcil trend a pomohol - uz aj za
pomoci mladych absolve ntov - scenografiu ako
odbor emancipovaf. Aj skola rna zasluhu na tom:
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(24)
•whopferischen Kunstpraxis sollte der Anwarter auch
1 .Ltionale Verfahren entwickeln, er muBteseine
I •.mntnisse in den theoretischen Facbem vertiefen. Er
11 lte sich mit den Grundlagen der kiinstlerischen
1 uhnengestaltung, der Architektur, Modellierung,
, ~ ichenkunst, der darstellenden Geometrie und der
•st iimkunde vertraut machen, ebenso mit der
f ·schichte der Malerei, der Bildhauerkunst und
1 11hnenbildnerei, mit Beleuchtungstechnik und
, hauspieltecbnik im allgemeinen. Zugleich sollte er
c11 • Grundlagen der Fotografie und Physik
~ nnenlernen. Ebenso war eine Ausbildung in
giefiihrung und Dramengeschichte unumgiinglich.
1 ctchzeitig sollte er seine philosophischen und
1 rachlichen Kenntnisse vertiefen. Allerclings war
• 1 t s our ein Teil seiner Ausbildung, die er unmittelbar
der Schute erwarb. Deren unabdingbarer
1. ·sta ndteil waren wahrend der Semesterferien
1 1ktika in Werkstatten und Landschaftsmalerei.
I Bereits aus dem bier Angedeuteten ergibt sich, daB
1 1 j uogeBiihnenbildnerim VerlaufeseinesStudiums
111 ·hrere Ausbildungsbereiche durchlaufen muBte.
1\ I ·ist erwies es sich erst in der Praxis, ob diese breite
Basis ibm dazu verhalf, in das Wesen der
I ~ uhnenbildnerkunst einzudringen.
I Ein nicht wegzudenkender Faktor war jedoch das
Milie u am Theater, in das die jungen Biihnenbildner
I· reits wiihrend ihres Studiums gelangten. Von den
hauspielhausem wurde ihr Eintritt als
\ llkommene Hille angenomrnen.
1 A ls Lehrer verhie13 L. Vychodil seinen Schiilem
~ ' me idealen Arbeitsbedingungen. Er brachte die
"r •tdie renden vielmehr dahin, daB sie in ihrem
haffen auf Einfallsreicbtum und Phantasie setzten
1 10 einfache, zweckmaBige LOsungen anstreben
, lltcn, die nicht von einer komplizierten Technik
•Jsgingen, sondem dem Grundsatzfolgten, mit
t 1 nfachen Mitteln eine maximale Wirkung zu
•' iclen.
1 Eine Rei he der liindlichen Theater untemahmen
, ma ls zahlreicbe Tourneen und spielten in den
'iumen von Kulturhausem, deren Disposition
inerlei komplizierten LOsungen erlaubte.
Die Beweglichkeit und Anpassungsfahigkeit eines
I >jhnenbildners war eine erste Voraussetzungfiirsein
1 Jherleben im ProzeB der Schauspielpraxis.
l Vychodil ging als Lehrer vom Zustand der Theater
.1 •s, sowie von den Ensembles und dem Ambitionen
d ,r Regie. Er zog keine exklusiven Bi.ihnenbildner fi.ir
c Jdusive Biihnen heran. So etwas existierte auch
( '5 )
rather made his students base their works on wit and
fantasy, on simple and purposeful solutions, not
stemming from complicated technology, b ut
implementing the principle of achieving the maximal
effect by the simplest means. In those days several
theatres in the country gave performances in houses of
culture, which owing to their limited space and
equipment did not allow any complicated settings.
Versatility was the first condition of scenographer's
, viability" in the process of theatrical practice. L.
Vychodil drew on the situation in theatres, ensembles,
and the director's ambitions. He did not train
exclusive artists for exclusive theatres. Nothing of that
kind existed in Slovakia. Permanent unfavourable
conditions in theatres and minimum hope for their
change to the better in near future, made the young
scenographers develop such kind of scenography,
which was based on different conditions than the
machinery of theatrical production. Years of
theatrical practice proved that this tendency brought
about considerable achievments. The activities of
Vladimir Sue anek, Jozef Ciller, Stefan Hudak, and
others proved the presented orientation to be
perspective.
I Analogically action scenography (scenography
participating functionally in dramatic action) began to
be acknowledged also on European scale, which was
fully in accord with the intentions of the young Slovak
theatre artists, as well as with the methods of teaching
at the Department of Scenography. Eventually the
School's good renown in the world, and lots of
students from abroad again prove thanbe laid out
trend has been good and effective.
I Ludmila Purkynova started lecturing at the School
in 1955. She was a stimulating pioneer ofa new
costume design conception. While Ladislav Vychodil
focused his attention on scenography within the scope
of its use in space, Ludmila Purkynova considered
costume to be the dominant sphere in her theatrical
and pedagogic activities. In the first decades of the
School's existence Ladislav Vychodillaid its
foundations, determined its trends and succeeded,
though already assisted by his young graduates, in
gaining autonomous position for scenography.
Naturally, the College itself has a lion's share in
thrusting scenography's position, training the adepts
Juraj Ftibry,
I. rocnik (1976/77)
G . Gershwin:
l'oll'ol Ciwirik,
I liiCllik ( 1976/77)
I' 1 ov<iCik: Krcma pod
, l1•nym stromom
Raps6dia v modrom
I I
(26)
11 7)
I
I I I I '/•
ttum • S:t lzbtug
I ·IHstuhl fur Szcnographie an der Hochschulc fu1 Mus1k unci
nd Kun ..t, B1 at1slava spiclt cine hen m ragcnde Rolle 111 d 1
ungclcrcuropai-;chcn Szcnographen.
WH..:dcrholt n Male hahcn wirdic Aushildungsst·1th.: hc..,ucht
on dcrcn I 1folg ubc1 zcugt.
scenografii razila cestu, pripravovala ade ptov,
spolupracovala na vystavach. Prichodom I:udmily
Purkynovej doslo k vyvazenemu usilu o kostym, ktory
si vtedy nevyhnutne i iadal zvysenie profesionalnych
kriteril. Preto aj doslo k samostatnej vyucbe koscymu
ako scenograficke j discipli'ny.
I Vstup Otta Sujana do pcdagogickeho procesu
znamenal zasa doraz na uiSiu spatosf scenografie
s reziou a dra maturgiou, co svedcf 0 dynamickom
vyvine skoly a 0 jej prepojc ni s potrebami sueasnej
ctivadelnej praxc. V pedagogicko m procese Ladislav
Vychodil, I.:udmila Purkynova a Otto Sujan sa delili
a delia o cfalsie profil ovanie katedry. Ak naprfklad na
zaciatku bolo prfznacnc, ze sa scenografii venovaU
adepti ako discipline zamerancj na priestor,
prfchodom I.:udmily Purkynovej sa zd6raznil ryznam
kostymu. Helena Bezakova sa sfce v kosickej etape
kratko po absolvovanf venovala tvorbe sceny
i kostymu, no ncskor sa sustredila vylucne na
kostymovu tvo rbu. Pcdagogicke usilie I:udmily
Purkynovej sa ukazalo neskorv praxi inych:
Bezakova i Pol6nyova prejavili svoj vefmi osobity
scenograficky rukopis ako vylucne kostymove
vytvarnfcky.
I Patri k prfznacnym crtam bratislavskej
scenografickcj sko ly, ze neviedla a nevedie stude ntov
k sabl6ne, ale k respektovaniu svetonazorovych
umelcckych poziadaviek. Nie su nijake vynimky, ie
naprfklad graficka a lebo maliarska skola pod
urcujuci m vplyvom pedag6gov poznacf ziakov na dlhe
roky, kym sa im podarf vymaru( sa spod tohto vplyvu
a najsf svoj vlastny ryraz. Ladislav Vychodil, L.udmila
Purkynova a cfalsf pedag6govia nikdy svoj rukopis
nevnucovali ziakom. Nekorigovali ich podia seba, a le
usilovali sa ich vi est tak, a by sami z vnutornych
podnetov a zdrojov rastli a rozvijaUsa do svojbytnej
osobnostnej polohy. Pre absolventov je typicke, ze
chapu scenografiu nie ako dekorativnu disciplinu, ale
ako priestorov(• tvorbu v spatosti s dramou
a divadelnym priestorom. Poueenfv historickych
styloch, v materia loch, v utvaranf priestoru,
v tende nciach divadelnej rezie nevedu deliacu hranicu
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(28)
•ntcr slowakischen Verhaltnissen nicht. Die weiterhin
ncstehenden Verbaltnisse an den Theatem tWd die
"'Tinge Hoffnung, daB sich binnen kurzem plotzlich
lies andern wtirde, zwang ctie jungen Biihnenbildner,
men Typus der Biihnengestaltung zu eotwickeln, der
1f anderen Voraussetzungen basierte, als es die
heatermaschinerie war. Nach Jahren eJWies es sich
doch in der Biihnenpraxis, daB ctiese Ausrichtung
·s Schaffens bemerkenswerte Ergebnisse zeitigen
-.nn. Die Tatigkeit Vladimir Suchans, Jozef Cillers,
1cfan Hudaks und anderer erbrachte eine
cstatigung dafiir, daB die genannte Orientierung
1kunftsweisend war.
Analog hierzu begann sich auch in der
uropaischen Biihnenbildoerkunst ein durchdie
ktion gepragtes Biihnenbild durchzusetzen, wie es
l'o Intentionen der jungen slowakiscben
heatcrschaffenden und cbenso den
usbildungsmethoden an der Bratislavaer Schule fiir
iihncnbildnerei entsprach. Schlie6lich zeigten das
•ositive Echo, das die Schule international fand, und
' r Z ustrom auslanctischer Studenten, daB der bier
·rtrctene Trend berechtigt und produktiv war.
Im Jahre 1955 verlieh Ludmila Purkyilova mit der
tfnahme ihrer Lehrtatigkeit an der Schule der
usbildung in Kostiimgestaltung neue Impulse.
ihrend Ladislav Vychodil sicb unter dem Aspekt
r mmlicher Moglichkeiten auf dasBiibnenbild
k >nzcntrierte, wandte sich Ludmila Purkyiiova dem
} )Stiim als dem dominierenden Bereich ihrer
· heater- und Lehrtatigkeit zu. Lactislav Vychodil
I tte im ersten J ahrzehnt des Bestebens der Schule
< ' Basisarbeit geleistet, er hatte ihren Trend
stimmt und der Biihnenbildnerkunst- auch unter
uthilfe dcr jungen Absolventen - dazu verholfen,
l(. h als Fach zu cmanzipieren. Auch die Schute
nuchte sich darum verdient, sie bahnte der
'tldhauerkunst den Weg, bereitetedieStudierenden
or und arbeitete an Ausstellungen mit. Mit dem
\ uftreten Ludmila Purkyi'iovas kam es zu einem
usgcwogeneren Bestreben urn das Theaterkostiim,
hs damals eine Erhohung der professionellen
riterien erforderte. Daher kames auch zu einer
•genstandigen Ausbildung in Kostiimkunde a1s
c1lfach der Biihnenbildnerei.
Das Auftreten Otto Su jans innerhalb des
usbildungsprozesses bedeutete hingegen, daB der
kzcnt auf eine engere Verbindung der
tihnenbildnerei mit Regiefiihrung und Dramaturgic
and cooperating in exhibitions. Ludmila Purkynova's
advent brought about an effort to pay proportional
attention to costume, which in those days inevitably
claimed higher professional standard. That is why
costume design became a subject lectured within the
scope of scenography.
I Otto Sujan, as a lecturer, stressed closer bonds
among scenography, direction, and dramaturgy,
which was an evidence of the school's dynamic
development and its direct contact with the needs of
the theatre of the day. As professors Lactislav
Vychodil, Ludmila Purkynova, and Otto Sujan have
been striving and strive for greater differentiation
within the framework of the department. At the
beginning it was a typical feature that the students
devoted themselves to scenography as to a subject
dealing with space. After the arrival of Ludmila
Purkyiiova costume's significance was stressed.
Helena Bezakova devoted herself for a short time she
spent in Kosice, to both scenography and costume
design, but later focused her attention entirely on
costume design. Ludmila Purkynova's pedagogic
activity brought its fruit later in the work of other
artists. Both Bezakova and Pol6nyova proved to be
genuine scenographers exclusively in the sphere of
costume design.
I The Bratislava Schoo) of Scenography has another
typical feature. Each student can fully develop his
abilities without having to follow models or submit to
dull routine. It is no exception to the rule, that those
who had studied graphic art, or painting before
embarking on scenography, remain for a long time
under the influence of their first professors. Lactislav
Vychodil, Ludmila Purkynova and other lecturers
have never urged their styles upon the students, nor
have ever been trying to make them accept them. On
the contrary, they have always been doing their best to
get the students to grow and develop, to draw on their
own sources and stimuli, and in such a way to become
autonomous artists with their own genuine
conceptions. Moreover, it has become a common
practice that the school's graduates conceive
scenography not as a mere decorative ctiscipline but as
a creative activity existing in direct contact with drama
and theatrical space. Well aware of historical styles
and materials, of aU the principles of creating space
within the scope of direction, they do not find
medzi rytvarnym vyrazom a ostatnymi zlozkami
divadelnej strukt(try. Pochopili, ze scenografia moze
napJnO zit len VO vzajomnom podmieneni, Vprepojeni
javiskovcho dicta s ideovo-umeleckymi ciefmi.
I Najma generacia sesfdesiatych rokov podala
dokazy, ze ju skola dobre pripravila pre rozvijajuci sa
divadelny proccs nielen v nasom, ale aj v eur6pskom
divadle. Pre skolu bolo osozne, ze Ladislav Vychodi l
coraz viae pracoval aj v zahranicnych divadlach.
Prinasal podncty z inych divadelnych kultur, skolu
prepajal s celym procesom pokrokoveho eur6pskeho
divadla. Skola sa otvarala norym podneto m. A stavala
sa pri(ailivou pre zahranicnych studentov, ktori
prichadzali bucf na kratsie pobyty, a lebo absolvovali
celcstudium.
I Od cias, ked na Vysokej skole muzickych umeni
v Bratislave vzni kla Katcdra sccnografie sa vefa
zme nilo: skola sidli v niekdajsom objekte Acade mic
Istropolitany, ped agogicky zbor sa rozsiril, co malo
vplyv na smcrovanic vyucby a jej metodiku,
vybudovali sa modcrne dielne Slovenske ho
narodncho d ivadla v Bratislave, ktore sh:izia mladym
vytvarnikom pocas studii, rozvilo sa aj divadelne
umenic.
I Nezmenilo sa to zakladne: skola sa uzko prepaja
s praxou; odpoveda najej potreby zmenami
a doplnujucimi kratkodobymi i dlhodobymi kurzami
pre postgradualne vzdelanie odbornikov z praxe;
udriuje kontakty s ostatnymi divadelnymi
sccnografickymi skolami v zahranici, vedic studentov
k vedomiu suvislosti a podmienenosti scenografie
s d ivadlom v cclcj jcho zlozitosti v priestore, pohybe
a case.
I Ten to trend poskytuje zaruky, ze absolventi budu
schopni niclcn osvedcit svoj talent v divadl<kh, ale
v praxi aj prcsadzovat do buducnosti zacielene
umelcckc programy.
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(30)
J' ·legt wurde, was von der dynamischen E ntwicklung
·r Schule und ihrer Verbundenheit mit den
I ·diirfnissen der zeitgenossischen Scbauspielpraxis
ugt. Ladislav Vychodil, Ludmil a Purkynova und
Ito Sujan gestalteten gemeinsam den
usbildungsprozeB und streben auch beute noch eine
\ itere Profilierung ihres Lehrfaches an. Wares
rspielsweise am Anfang bezeichnend, daB sich die
' udierenden der Biihnenbildnerkunst als einer
1 tmtich orientierten Disziplin widmeten, so wurde,
• t Ludmila Purkyi'iova ihre Lehrtatigkeit aufnahm,
Bedeutung des Kostiims betont. Zwar hatte sich
lena Bezakova wahrend ihrer Kosicer Zeit kurz
h AbschluB ihres Studiums mit dem Biihnenbild
1 uder Kostiimgestaltung befaBt, doch konzentrierte
sich spiiter nur auf die Kostiimbildnerei. Die
'lagogischen Bestrebungen Ludmila Purkynovas
11cn spiiter in der praktischen Tatigkeit anderer in
.cheinung: Helena Bezakova und Pol6nyova
lu tchtcn ihre ganz spczielle biih nenbildnerische
I r ndschrift ausschlieBlich als Kostiimgestalterinnen
'I ' n Ausdruck.
I / u den charakteristischen Ziigen der Bratislavaer
S •ulc fiir Biihnenbildnerkunst gehortees, daB die
S dicrcnden nicht schablonenhaft ausgebildet
" den, und dies ist auch heute noch so. Wenn
11 piclsweise cine Scbule der Graphik oder Malerei
cl ~chiiler durch den bestimmenden EinfluB ihrer
trcnden auf lange Jahre hin pragt, so gelang es mer
111 • ahmlos jedem, sich diesem EinfluB zu entziehen
un ·inc eigene Ausdrucksform zu finden.
I
adislav Vychodil, Ludmila Purkyi'iova und die
1111 ren Lehrenden haben ihren Schiilern niemals
Ih I Iandschrift aufgezwungen. Sie korrigierten sie
nl 1 nach ihren eigenen MaBstiiben, sondem waren
h rcbt, daB diese selbst a us inneren Anregungen
111
Quellen heranwuchsen und eigenstandige
Jll -;onliche Positionen entfalteten. Fiir die
A 1 .olventen ist es typisch, daB sie die
ll '•nenbildnerkunst nicht als dekorative Disziplin
111 r.1sscn, sondern als Raumgestaltung in enger
V hindung mit dem Biihnenwerk und dem
I ,ttcrraum. Die Kenntnis der historischen Stilarten,
,t. Wissen tiber Raumgestaltung, Tendenzen der
H efiihrung fiihrt nicht zu einerTrennungslinie
.,, ·hen dem bildnerischen Ausdruck und den
bl •en Bestandteilen der Schauspielstruktur. Die
AI 'lventen dieser Schule haben verstanden, daB die
lh 1enbiJdnerei nur in der gegenseitigen
<
(3 )
a dividing line between artistic expression and other
components of theatrical structure. They have
understood that scenography can flourish only in close
contact with theatre and in their mutual influencing.
I The generation of the 'sixties, in particular, gave
evidence of having been well trained by the School for
the process of development which took place not only
in Czechoslovakia but in European theatre as well. It
was a great advantage for the school thatLadislav
Vychodil worked for several theatres abroad. He
brought back stimuli from other theatres and cultures
and joined the School to the overall process of
progressive theatre development in Europe. The
School absorbed the new stimuli. It has become
attractive also for students from abroad who come
either for shorter study stays or attend all the courses
and graduate in Bratislava.
I A lot has been changed since the Department of
Scenography was founded at the CoUegeofMusicand
Drama in Bratislava. The Department resides in the
former building of Academia Istropolitana. The
number of professors and lecturers increased, which
considerably influenced the trends in teaching and
methodology. Modern workshops of the Slovak
National Theatre were built, being available to the
students, and theatre arts have made a great step
forward , too.
I However, the School's principal conception has
not been changed. It has been closely connected with
practice, responds to its needs by changes and
complementary short or long post graduate courses
for artists and experts engaged in theatres. The School
is in contact with other schools of scenography abroad.
It leads its students to be aware of the continuous
character of theatre's historical development and to
take into account all connections and conditions of
scenography and its position in theatre in full
complexity of s pace, move ment, and time.
I This trend is a guarantee that the graduates will be
able not only to assert themselves as good
professionals, but implement progressive artistic
programmes as well.
Priesto rova studia
(plcxisklo)
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pa30I1Jl 0Cb TaK)I(e TCaTpaJJbHOe 11CKyCCTBO.
I He 113MCII11Jl OCb ocnoonoe: CQenorpacj>I1'1CCK351
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rt0Tpe61IOC'I'I1 113MeHeH1151MH 11 }\OOOJlHHTCJlbllbiMH
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ll08bi WCtii1H KU3J1Hcp11KCIQI111 CfH!QHaJIHCI"OB 113
npnKTHKH ; 110}{1\ep>KHOaeT KOHT3KTbl COCTaJlbHbiMH
TeaTpaJJbllbiMH CQeHorpacj>H'IeCKMMH WKOJ13MH
3apy6e>KOM; 8CJICT C'I'Y/-'CHTOB K OC03~1aHJUO
npeCMC'I'llCHHOC'I'I1 C11CT0p11'1CCKI1M pa3BI1T11CM
TeaTpa 11 K OC03Halll110 CI3SI3eHI1 o6yCJJOBJ1CHHOCTI1
CQCHOr"p3cp1111 CTCaTpOM 80 BCeH ero CJ10>KHOCTI1
8 llpOC'I"paHCl'lle, }\BH>KCI-11111 11 flO BpCMCHW.
I 3To nanpaOJICIII1e W:leT rapatiTHIO, 'ITO
8binYCKHI1K11 6yAyT B COCTOSIHI111 ne TOJlbKO
np11MCIII1Tb OpOcpCCCHOHaJlbHO CBOI1 3HaHJ1SJ Ha
rrpaKTHKC, 11011 B npaKTHKY 6y.QyT B 6y.QyUJ,CM BBOAJ1Th
QencuanpaoJtCIIIIble xyAO>Kec-raeHHbi C
nporpaMMbl.
(32)
l k dingtheit, durch Z usammenwirken und
llccinflussung, voll existieren kann.
I rnsbesondere erbr achte die Gen eration der
~l'thziger Jahre den Beweis, daB die Schule sie fiir den
F ntwicklungsprozeB der Scbauspielkunst nicht nur in
dt.•r Sl owakei, sondern aucb innerhalb Europas gut
vt bcreitet hatte. Fur die Schule wares von N utzen
daf\ Ladislav Vychodil immer haufiger auch an
'
l llt'l~i ndischen Bi.ihnen tatig war. Er bracbte
J\ nrcgungen aus anderen TheaterkuJturen mit und
' Illite ei ne Verbindung der Sch ute zum
<ksamtprozeB des fortschrittlichen europaischen
!'heaters her . Die Schule o ffnete sich neuen
A nrcgungen. Und sie wurde fUr auslandische
'lh tdcnten attrakti v, die entweder fiir ei nige Zei t
hicrhcr kamen oder ihr gesamtes Studium hier
uhsolvierten.
I Scit der Zeit, da der Lehrstuhl fUr
l llihnenbil dnerei an der Hochschule der musischen
Kilnstc i n Bratislava entstanden i st, hat sich vieles
I-Ll'otndert : Damals war die Schule im Gebaude der
••lwmaligen Academia I stropolitana untergebr acht;
dlt (Jruppe der Lehrenden wurde gr oBer, was sich auf
dk A usrichtung der Ausbildung und deren Methodik
uu ~wi rkte; die m odernen Werkstatten des
~ l nwa kischcn N ational theaters wurden eingericbtet,
•he den jungcn Bi.ihnenbil dnern wahrend ihrer
\l ll(hcnzeit zur Verfugung stehen, und die
\ r h.lllspielkunst erfuhr cine Entwicklung.
Das G rundlegende blieb unvedindert: Die Schul e
i ~l l ng mit der Praxis verbunden; sie reagiert auf deren
lkdu rfnissc durch Veranderungen, und indem si e
u ~atzlich Kurz- und L angzeitkurse zur postgradualen
hu tbi ldung der in der Praxis tatigen Fachvertreter
l'llll tchtct. Sic unte.rhalt Kon takte mit auslandischen
•,c•hulcn fi.ir Bi.ihnenbildnerei , vennittelt den
'olmlicrcnden das B ewuBtsein einer Kontinuitat der
hiNiorischen Entwickl ung des Theaters und das
Wlsscn um die B edingtheit der Bi.ihnengestaltung und
1111 1."11 Z usammenhang mit dem Theater in sei ner
llt'llltmtcn KomplexiHit von Raum, Bewegung und
I' I' l l
I >icsc A usr ichtung bietet die Gewahr, daB die
\ hsnlvcnten nicht nur die Fahigkei t besitzen werden,
h h In dcr Praxis professionell durchzusetzen,
••11dcrn auch zukun ftweisende ki.instlerische
l 'lll!''·•mm e in die Praxis umzusetzen.
( II )
Rastislav Bohus
2. rocnfk ( 1969)
~tudia kosrymu v m ak ete
Peter Canecky,
2. rocnfk ( 1979/80)
Studia sucasneho odevu
Olio KA/ILER
p, .tsident dcr Scktion DDR dcr OlSTA
I .., schu.::n mir c;;chon nnmcr cincr dcr wichtig~tcn Bcstandteile de
Au .. bilclung von Blihncn und Kostumhiklncrn Ill scm. vom crsten
Tag des St udium an eng mit <.l\!r Pra '"'des 1 heaters vcrbundcn lU sl.':in
damll cin crfoh?,rcichet lJbcr gang zur sclhsHtndigcn kirnstlcrische n
At bcit gelingt Dic'\e J ordcrung fand ich bci cincm Bcsuch de
Kun ..thochschulc in Bt atJslav,t auf gcradc7u idc,tlt We is~,; vcrwirklicht
Mich bccimh ucktc dr~,.: Vi I fait (k-s Studrcnprogr,mun": D i
Stud nten khnm:n ilu I Ill\\ ur f im Kont.tkt mit Regio.;scurcn un
Dr m·1tur ·n rul d t r •cnl:n Studrohuhn um!-!Cl.lcn unci d i
1 1, rt thrcr Au t·tttun tn d 1 Studrnms/cnreJungcn rprohen
1 I Ja..,s th I nt\\Jrf rrb tt d 1 Stud ·nt n nh.:ht nurnufgros
I nk v1 d s
s I 1 E i1 dur"' 1ch urn dcr junge1
u1 I m t tn port hi [) kor~ time
I 1 t '-"" I II I n mod ·rnl:n grosse
(34
ttcn habcn drc Studenten die Moglichkeit, ~rch mil
hen und konstruktiv~;n Aufgahen ihrcs spittcrcn Bcrufcs
7U machcn und mit Materia len zu cxpcrimcnticJCn. Die
me am 1.. ntstchungspro1ess von Aufflihrungen des
,..,chen Nationalthcaft.•p; vcJ mittclt das Den ken in
11 gischcn Zusa mmcnhimgcn. die Siehl des TIH.:atc 1 s als
kunstwcrk.
sor Vychodii. zuglcich Ausstat1ungschcf des SND und l citc.:r
nbildklao;s~.:: g.lr<mliert \.!inc lebcndigc Wl:ch clwrrkun, von
rn I St udrum chu ch scim: Pcrsonhchkl:Jt' d :ts grit auch fur 1 r tu
k nova, die I ·11 nn lcr Kostiim.tbtcilung Die
m.rlen Kont tided 1 Schul~.:: und d1c Prager Qu tdn nn.tk
t. Bildun ,.., 11 bm~se zu verm1ttdn d1 · k n Stull ntcn
1 1 n. d n ctg n n St.mdpunkt in Kun'\t und Bcr uf u
!veta Tomanova,
2. rocnik
(1984/85)
Studie odevu
zostvorca
a kruhu
\
.
·-
H'het Ratkaiova,
1979/80)
I l' nrona: Z iska
1dlplomo va praca,
I •Ilona J6zsef szinhaz
1 o'l ~kc met, R. A. Beke,
~ '' 1yrn z inscenacie,
~ otlli / z tcchnickeho
1,
• IO~Ilfk (
I• I tl u)
I I/)
J. B. Molie re: Mizantrop.
R. P. Mikulik,
S. + K.: l.Jelfnek, P: 12.4. 1970,
koscyrn z inscemicie
v Divadc lnorn studiu VSMU
(mafba na za rnate)
I
'.
I
J0
:
'""
Miroslav Matejka,
Peter Caneckj,
2. rocru1c (1974175)
2. rOCnlk (1979/ 80)
StUdia doboveho
Studiaodevu kruhovej
kon§trukcie
divadelneho kostymu
Hlny umelec I adis/m• ( /u((hk.
.ttedJ a sccnogr.tfit.: VSMlJ sa moze cdkom bez Zdbt an pochvaht
dkami vojcj pracl:. Nacelcsprofesorom l. Y)chodilom uz
1 c gencnkic .,vychodili'' chodnicky k uspechom
dzinarodnych n.:I.Jciach. Ako kolega hcrcc marn
wpttcl'nu rddost', lwei ma prcdsa len trochu t 1<tpt. lC n ic.: srnc lld
.tkC j \IWVIll. Jr pko Sfl mi [JrJZJUtVa. ZC SCCI10grafia ll<lnl par
t) ~.,;h kroCikov utickla dnp1 cdu a tn) sa budcme m11sicr' pori.tdn~..:
dmut. dby smc moh li za-;a slavit spolocnc uspc~.:hy. Smc ".l tvtc;IJ
n n.t druhom a .tk <;.t 'zajomnc ncinspiruJemt: podkop 1vmnc na~c
\ nc diclo. CuntntcnLJ\ ncjsic zijc JaVisko hwu hcrcov tym via~:
1dol\ .u a. luno~.,;nujc divakov nit:itok. 011va dwmm, kon,uum
, 1 hl: 1 Cc\ lebo mu thl' a sancu me iha pr c..: hru ale pr c t H)rbu, pre
07\ tnutic tvorivostt. M) shm ze pra\ c k tonmto nazot u rncru JC.
l flCd, provoku JC 'brat J<;)avska skol.t Sl.:t: 110!!f3fl '.
( 19)
lana Fifikovti,
3. roeru1c (1978179)
Konstrukcie
architektonickych
detailov
Frantisek Lipuik,
4. rocnik (1984/85)
J. Hayden:
Svet na mesiad
Frantisek Liptak,
4. rocnik
(1984/85)
J. Hayden:
Svet na mesiaci
(maketa kostymu
2/3vefkosf
figuriny, technicky
textil)
'
0
I .
0
I
:";9:-\;J
, ol
1/;:,. : ••
0
'
Peter Canecky,
3. rocnfk (1980/81)
Cvicenie
z technickeho
kreslenia
, ..
1':!...
~
!II
I
:
0
'
Milan Ferencik,
1. rocnik (1973/74)
Cvicenie
z deskriptivnej
geometrie
oJ
j
j
·'
(40)
( II )
Narodny u melec, p rofesor
LADISLAV VYC HO DIL
I Studium scenografie v CSSR bolo zaclenene ako
odborna specia lizacia na A MU v Prahe a na VS MU
v Bratislave. Scenickf vytvarnfci studuju na tychto
skobich spolu s rezisermi, he rcami, teatro l6gmi,
d irigcntm i a spcvakmi. Vyuka vychad za z nahfadu, ze
scenografia je dramaticko-priestorova disciplina a nie
disciplfna dekora tivneho maliarstva.
I Skola ma od zaciatku samostatne D ivadelne st udio
VSM U a rocne predvedie za ueasti verejnosti 4-7
inscemicii.
I Stru ktu ra aj osnovy sko ly scenografie sa,
pochopite fne, menili a vyvijali. Spociatku sa odbor
ko ncipoval ako specia lizova ne stud ium a kazd y
stude nt pred p rfcho do m na skolu muse! skonCit' dva
roky studia na inej vysokej sko le (a rchitekturu a lebo
malia rstvo). Ve l'a sa diskutovalo o to m, ci sa divade lna
kostymo va tvo rba ma studovai samosta tne , a le bo
spo locne so scenickym vytvarnictvom. Specia tizo vane
studium kostymu sa cxpe rime ntalne o tvorilo ako
vyuka spo lu so scenickym vjtvarnictvo m .
I Ko ncepciu vyueovacie ho procesu predklad am v jej
,bistorickej" podobe z rok u 1965.
I Z3kladna struktura studia scenickeho rytvamictva
a d ivade\ne ho kosty mu
Hlavna ulo ha rychovy:
1. Viest' adeptov k tomu, aby boli scho pnf
ume lecke ho zazitku.
2. Poskytn ut im ta ke vedomosti, aby boli scbo pni
tieto zazitky realizovat' vo svojej d iscipline.
Tato dvoj p61ovost' mala byt' urcujuca pre vsetky
p redmety.
R ozde le nie predmetov:
svojej pnk i v urcitej rov novahe vsetky disci pliny
rytva rne ho umenia (architektu ru, socharstvo
a maliarstvo). Ak cha pemc pr:ku divadelne ho
vytvam fka kom plexne (scena, kostym a maska),
nemozeme prist' k ine mu zaveru.
I Pri rychove scenickych vytvarnfkov treba brat' do
uvahy, ie pracuju na kolektfvnom diele, kde musia by(
teoreticky jasne vzajomne vzrahy jednotlirych zloiiek
a ich do pa d na celkove vyznenie d iela. Po p ri hlavnom
predm ete maju dolezitu ulo h u teoreticke pre d mety,
ktore by sa ma li v tom to smere skonkretizovai.
I Plan vychadza zo skutocnosti, ze PrvY rok je
pripravny, v dru hom roku sa studium deli na scenicke
a televfzne rytvarnictvo a kost}imove rytvarnfctvo .
I. rocnik,
II. rocnfk, III. rocnfk,IV. rocnik,V. rocnik
Pripravka. Scenicke a te lcvizne rytva rnictvo.
Kosrymove vytvarnictvo.
Statna
1. previer. 2. previer.
zaverecna
talcntu.
talentu.
skUska
----------------------------------
1. SCENICKE VYT VAR Nicrvo
I V p riebehu celc ho studia zastupuje priesto rovu
disciplinu. Je hlavny m nosite To m ulo hyupevnovat'
a rozvijat' scho pnost' u meleckeho zazitku stude ntov.
Na tejto ulo he sa podieTaju aj vsetky ostatne
predme ty.
Prv:Y rok je p ri pravny.
Od druM ho rocnika sa predme t deli na:
a) ate lierovu pnku;
b) pracu pre Divad e lne stud io VSMU a ine divadla.
Tato praca je viazana na dra ma turgicke plli ny, preto
nie je obsia hnuta v tom to programe.
1. semester
V yrvarne
discipHny
Priesto rove
Plosne
Te6ria
Technicke
d isci pliny
Tech n. realizacia
Techn. javiskova
Te6ria
Divade lne
discipHny
I
U k lady rezijnej
tvo rby
Z3klad y he reckej
tvorby
Te6ria d ra my
Architektu ra
Socharstvo
M aliarstvo
·-.....
cd
cd
.....
01)
0
c::
~
0
C/)
Vychova vychadza zo zasady, ze sceno graf spaja VO
a) Vyzdoba javiska D ivade lnehostudia VSMU;
b) kra tkodo be trojtyzdnove ulo hy,
studje mate ria lo v a struktur v pioche a priestore,
mate ria l ale bo struktura ako nastroj svetla.
2. sem ester
a) trojtyzdnove kratkod obe priestorove ulohy,
studia kocky, pre la movanie plochy, studia
ho rizontu ;
b) divad elny re lie f.
Semester je zako nceny klauzuro u, ktora nadviizuje na
d ane uloh y. Priesto rna danu litera rnu temu.
3. semester
a) scena a koscymy (realizuje sa v p redmete zaklad y
kost:Ymu) p re a nticku d ra mu. Navrh, maketa;
(42)
h) p raca pre Divadelne studio VSMU a lebo te leviziu .
I AI> lSI A\ VYC 1101>11
4. semester
n) seen a a kostymy pre stredoveku hru ;
h ) praca pre studio a lebo televiziu.
5 semester
n) shakespcarovskadrama;
h ) pnka p re studio a lebo televiziu.
fl semester
u) Goldoni - Mo lie re - Com media dell'arte;
h ) praca p re studio, televiziu a lebo ine divadlo.
semester
u) klasicka o pera;
h ) praca pre studio, televfziu a lebo ine divadlo.
S semester
11) domaca klasika;
h ) pnica pre studio, televiziu a lebo ine divadlo.
c) semester
u) balct ;
h) drama 19. storocia;
c) pnica pre studio, te leviziu a le bo ine divadJo .
I 0. semester
u) drama 20. storocia - do maca ale bo zabranicmi;
h ) praca p re studio, televfziu a lebo ine divadlo.
2 Z AKLA D Y A R CHITEKTURY
1 Predmet by ma l nadvazovai na historicky pre hfad
interieru (hmotna kultu ra). PribliZii zasady tvorby
moderne ho interieru (bytovej jedno tky) so zvlastny m
n cte fo m na prevedenie a fun kciu.
1 MODELOV ANIE
V prvo m roeni ku tre ba studentov oaucit zaklady
rcprodukcneho socharstva. Namo de lovaf a odlia! d o
for my a sadry styri archite kto nicke cla nky (gotika,
rcncsancia, baro k, klasicizmus). Pripravii fonny pre
pr:izd ninovu prax.
v d ruho m rocnlku.sa studium zameriava na
modelovanie hlavy, mo delovaoie figury a priest orove
§tudie.
I
4. KR ESLENI E A MALOY A NIE
I Popri hlavnom predmete te nto pre dmet je druhy m
hlavnym nosite fo m te nde ncie rozvijai v studentoch
schopnosf umelecke ho zazitku.
Poslucbac musi mat pre dpoklady:
o) pre na maTovanie navrhu,
h) p re namaTovanie kostymu, masky a
c) diele nsku ma1bu.
Ko nkretne: zatisie, nabytok, inte rie r, omame ntalna
nrchitektfua, krajina, po rtret, fig6ra, diapozitivy.
(43)
In thl!( zcdwslmak Socmh'>t Republic
I)c p.utmc nts uf See no •rnphy \\ er c C<>t.lblishcd ell the
College of M li'>IC .111d Dr.mM in Prague .md at the
College of Musrc.tnd Dram,\ 111 Br&~tblma.
Sccnogrnphers study togcthcr With drrcctors. actors.
thc,llrologuc<>. conductors. ami'Srngc n; at these
college-;. rhc tc.lching progr.unmc is based on the
premise th.tt sccnogmphy rs a drscrplinc of space
char.lctcr md not that of dccorati\c p.untmg.
I rom the very hcganning the School has it'>
.mtonnmous 1 hc.1tric tl Studio .11 the College of Mus1c
::met I)r.una and has to present + 7 swgings to puhhc
.tnnuall)
I he SciH1111's st ructurc. as ""ell.ts rts tl:achrng
pr ogr nmmc 11.1\ c been naturall) changing and
dc\l!lopmg. IJornthc very beginnrng this
SJK'l ralit:tl ion '"as t:om:civcd as a sp~.·cific. spccia I
cour sc, and tach stwknt he lor c- having he en enrolled.
had to attend courses 111 architl'durt.• or painting for
t\\ o yc.1n;. I od.ty.• til 1he L'ourses as well ns art is tic
1r.1ining .trc conccntr.tlcd nt 1he ( Plkgc of r-.tusac and
Dr .un.t
B.tsrc structure of courses rn sccnogmphy ami
the.\tr il,;,ll costume.
J>rincrp.1l ohJCCtrvcs·
I To guide thc adepts to.\cquare the abrlit} to ha\c
.1rttstic ex per renee.
In pro\ldc them with such 1scopcnfknowlcdgc
th.1t they could he: .tblc tu m&~tcnahzt: the afore
rncntron~..:d expencnccs in therr spcci,tlrzatrons.
fhc tr.unm • r based on thc pr indplc th.tt
a c no r.tphcr cmploy-; m hrs work c~ll pr.ICIIC~..:s of
vasu.ll ,nts proporiiOII til) \\hen tr.\ining
sccnn •r.tphcrs nne mu'>t h.tvt rn mind th.uthcy \\(Ilk
rn tc tms "h rc tho.: rcl.ttiom.olrndrvidu.tl
turnponcnts .llld the 11 rmpact on 1hell\ era II dtar.tctcr
uf st.l mgs llltl'-l he d~:.trly distingurshcd thcnrctu;,tlly
lh•o;rdc-., rh ·rr m·trn subject lho..:v havL' top:\\ g1cal
tll..:ntH)II tn othct 1hcatr ical subjco..:h, whrch arc to he
on~: r ted to th o;cnpc ot prohlern•iO[ thc;il
... pcu.thz.ttrun.
I he pl. n ts I :1o;cd on the l.ro..:t th.tl the frr-;t year rs of
p puttnr ch,tr.t(tcr whrl •nthc..,•condonc the
1 ur
"r mury mto the fnlh wrn • ..,pccwhzatton-;.
u n •r phy p10p~.:r ,md costume dcsi~n
In 11
ohtudt !I em gr.tph)' represent
It m.un td 1.. r tu.,tn·n •the nand
Techniky: kresba tusom, lavirovana technika,
akvarel, tempera, gvas.
5. ZAKLADY KOSTYMU (prescenickych
vytvamfkov)
I V prvom rocniku prebrat' zaklady kostymovej
tvorby.
Od 3. semestra sa zamerat na prakticku tvorbu
v spolupraci s hlavnym predmetom.
6. DESKRIPTivNA GEOMETRIA
I Uloha: Objasnit zakonitosti priestoru a ich
zobrazovanie. Zakladne ulohy v premietani na dve
priemetne, vzajo mna poloha dvoch rovin, priamky
a roviny. Priemety jednoduchych geometrickych
telies. Kuzelosecky. Axonometria, stredove
premietanie, perspektiva, relief. Plochy pouzivane
v scenografickej praxi: rotacne plochy, priamkove
zborene plochy, skrutkove plochy atd'. Paralelne
osvetlenie ploch.
7. DEJINY HMOTNEJ KULTURY
I Pod at uceleny obraz o zivotnom style
v jednotlivycb historickych epochach (byvanie,
sposob spolocenskeho a rodinneho zivota). Doraz na
tie obdobia, ktore sa najcastejsie vyskytuju
v divadelnej literatUre.
Predm'isky su chronologicke, sprevadzane obrazovou
ilustraciou. Studenti by mali skicovat predmcty
a interiery ako zdroj informacii pre vlastnu pracu.
8. DE JINY MALIARSTV A A SOCHA RSTV A
I Strucny vyklad vyvinu so zretefom na vseobecne
dejiny a vyvoj vedeckeho poznania, ktore sa
odzrkadfovali v slohoch vytvarneho umenia.
9. DE JINY SCENOGRAFIE
I Strucny vyklad vyvinu scenografie s dorazom na
vyvoj divadelneho priestoru a divadelnej tecbniky
(t'aZisko- 20. storocie).
10. TEORIA SCENOGRAFIE
I Zakladne pojmy, kateg6rie a ryvoj v jednotlivych
historickych etapach - so zretefo m na scenografiu 20.
storocia.
11. D E JINY KOSTYMU
I Ukazat', ako hospodarske, politicke a vyrobne
~me ny posobili na vyvin kostymu. Venovafsa
doplnkom a skladbe koscymu a jeho estetickej,
socialnej a psychologickej funkcii. Ku sk(•ske
predpisat' seriu kresieb ako studium faktografie pre
vlastnu pn'icu.
12. DE JINY ARCHITEKTURY
I Typol6gia architektury. Osobitny zretel' venovaf
divadelnej architektfue a interieru, ktory dominuje
v divadelnej a televiznej tvorbe.
13. TECHNICKE KRESLENIE
I Predmet, ktory studentov pripravf pre technicke
riesenie realizacie scenickej vypravy.
Nauka o vlastnostiach a spracovani zakladnych
materialov (spajanie, konstrukcne clanky, zakladne
matetialy: drevo, zelezo, textil a umele hmoty),
organizacia vyroby, harmonogramy, jednotlive fazy
(naznaky, technicka skUska).
L4. VYBRATE STATE Z FYZIKY
I lnformacia o hlavnych oblastiach, s ktorymi sa
stretava seen icky vytvarnik.
Statika, optika, zakladne pojmy o elektrine, zvuku
a farbe.
15. JA VISKOV A TECHNIKA
I Obsahuje:
a) javiskovu techniku,
b) osvetfovaciu techniku.
I Hlavny doraz klasf na tvorivy prlstup k technike.
Treba vytvorif system, ako ukazat studentom
moznosti divadelnej techniky v umeleckej praxi.
Napojenie na h lavny predmet.
I Pri osvetfovacej technike predovsetk:Ym
dosiahnut', a by kazdy student vcdcl prakticky
osvetfoval' (fotografie, pokusne javisko). Prakticky
vypracovat' niektore efekty. Scitanie a odcitanie
farieb.
16 . FOTOGRAFIA
I Zaklady fotografie.
17. DE JINY DIVADLA
I Zakladn e historicke epochy s dorazom na divadlo
20. storocia. Prednasky usmernif na scenicke
vytvamictvo. Ako jednotlive epochy suviseli
s filozofiou, vedou a v'Jvojom vytvarneho umenia
a ostatnymi umeniami.
18. REZIJNA TVORBA
I K hre urcenej pre hlavny predmet demonstrovat
(44)
develop the students· ability to havt.l artistic
experience. Other subJects share in this task, too.
1 The first year is of preparatory character. From I he
secono year the subject divides into stuoio work, and
the work for Theatrical Studio of the College of Music
and Drama and other theatres or television.
19. HERECKA A POHYBOV A vYCHOVA
1 The first tasks are focused on the study of materials
I H ospitacie na tejto tvorbe.
and structures in space, on an area, and on the
investigation of illumination effects. The practical task
20. DIE LENSKA PRAX
oeals with the stage decoration on special occasions.
I Zabezpecit prakticky styk s profesionrunym
I During the next term the students work on the
divadlom a divadelnymi dieh1ami. Prax trva kaidy rok
tasks connected with solving the space - on studies of
14 dni pred zapocatlm skolskeho roku:
cube,
cylinder, overlapping spaces, open work areas.
a) prax na javisku,
The task culminates by the elaboration of
horizon.
b) stolarska, zamocnicka, kasirnicka diem a,
a
concrete
historical building using the system of
c) maliarska dieliia,
theatrical
relief.
d) konstrukcne oddelenie,
1 From the third term on, the students make ::.tage
~) vlasenkarska a krajcirska dielna.
and costume design (dummies, designs) in their studio
work, in such a way that they deal with all important
21 . MAI.:OV ANIE V PRIRODE
phenomena of dramatic works and theatre in
I Sucastou prazdninovej praxe je kreslenie
historical order of succession (antique drama,
a mafovanie v etnograficky a historicky zaujimarych
comedy, medieval plays, Shakespeare, baroque
krajoch a mestach v CSSR. Tato prax trva tiez 14 dni
drama, opera, commcdia dcll'arte, local dassicworks,
v priebehu prazdnin.
ba llet, the 19th century drama, the 20th century
drama).
Each term closes up with a work. maoe
1 Diplomova praca sa sklada z prakticke j
autonomously
by the students, on the basis of the
a teoretickej casti. Prakticka cast'diplomovej prace je
in[ormation
they
gained in their term works.
samostatml. praca na scenickej a kostymovej vyprave
I
The
work
for
the
Theatrical Studio of the College
v profesionalnom divadle.
of Music and Drama is connected with dramaturgic
plans of the theatre, and the students materialize their
designs
in the artistic decoration workshops of the
Zasluzila umelkyna, profesorka
Slovak
National
Theatre.
I:UDMILA PURKYNOVA
I Diploma work and the final state examinations.
1 Vyucba je obsahovo koncipovana v nadvaznosti na · I Diploma work consists of a practical part - the
work on a setting and costume design in a professional
lcoreticke i odborne predmety ucebneho phinu
theatre, and of a theoretical one, consisting of
(I zohfadnuje v sirokom zabere kriteria umelecke
a written evaluation of the given problem, either from
i ideove. Vytvar a pre disciplinu divadelneho kostymu
the sphere of scenography or history. The studies close
vzdelanostn e zazemie s estetickym, faktografickym
up by state examinations and defence of the diploma
H filozofickym zazemim.
work.
1 Divadelny kostym tlmoci ryznam dramatickebo
1 fhc number of students at the Department is
cliela v priamom a bezprostrednom kontakte - herec
determined by the needs of practice, that is why the
adivak.
specializations
can be studied in cl!rtain intervals only.
I Predmet zdruzuje specifika kostymovej tvorby pre
Cinohru a hudobno-dramaticke divadJo .
LUDMILAPURKYNOVA
I Cinohem e inscenacie sucasnej dramatiky nie su
pn1ezitostou pre atraktlvnu rytvarnu pracu. Ale pre
1 Theatrical costume represents the meaning of
rytvamika su zakladoym prostriedkom a kl'ucom pre
a dramatic work in direct contact bel ween actor and
pochopenie dramatickych vztahov, napati aich
audience. The subject differentiates bewecn the
umeleckych vyjadrenL Nedoslednym respektovanim
specific features of costumes for drama and music
" ncdostatocnym vyjadrenim sucasnych zivotnych
takladne postupy rezijnej tvorby so zvlastnym
a etefom na rytvarnu zlozku. Vovyssich rocnlkoch
v predstihu pripravovat rezijne rozbory hier, urcene
pre studium v hlavnom predmete.
(45)
K abinet
kostymovcj
tvorby
U mclecko-dc ko racnc
dielnc
Slovenskeho
mirodneho
d ivadla,
maliarcn
v
' dio
Dtvadelne stu
V~ M U
(47)
tendencii sa narusa najvnutornejsie a najucinnejsie
prepojenie medzi divakom a hercom.
I Vytvarna praca v hudobno-dramatickom divadle
spociva na odlisnych principoch a vyjadrujesa inymi
prostriedkami. Tuto tvorbu vyrazne ovplyvnuje
e motivnost hudby a abstrahujuci komponent plastiky
pohybu herca. Zakladna logika dramatickych vzt'ahov
a charakteristika postav je podobna ako v cinohernej
dramatike, ale rytvame prostriedky sa nepomerne
ryraznejsie uplatnuju a dostavaju ioy dramaticky
a charakterotvornyryraz. Dramaticke napatie
a ucinok sa vyMiraju realnymi i fiktivnymi materiaJmi
a kostymy spolu s interpretom ozivaju v pohybe, vo
svojich tvarovych obmenach, v priestore a svetle,
vyvljaju sa amenia v spojenf s hudbou.
I Dolezitym faktorom je vzt'ah scenickeho kostymu
k historickemu odevu. Odev, ako jedna zo sucasti
kulturnych dejin fudstva, podlieha rovnakym
principom a zakonitostiam doby ako architekrura
a vyrvarne umenie. To sa tyka hist6rie prave tak ako
sucasnostL
I Z nalost' historickcho odevu umoznuje poznaf
a najst' tie prvky, ktore svojlm vyznamom spajaju nasu
dobu s minulymi epochami a ktore pomahaju vyjadrit
mystienku podriadenu sueasnej umeleckej zlikooitosti
arytmu.
I Vymedzenic svojbytnosti divadelneho kost:Ymu
a civilneho odevu urcuje jednoznacne bistoricka
i sueasna faktografia .
I Otazka realizacie kostymovej rypravy uzko suvisl
s tvorbou. Je umeleckou sueas(ou konecneho
artefaktu - kosrymovej rypravy na javisku
- v hereckej akcii, dramatickej gradacii a integracii
vsetkych komponenlov, urcujucich konecoy rysledok
ioscenacie.
I Ako pedag6g kost:Ymovej tvorby mam snahu
v priebehu studia poskytnut a vytvorit atmosferu
tvoriveho naplitia, kulturu pracovneho prostredia
a naucif remeslo - mct6du tvorivej, realizacnej
a organizacnej prace.
I Na nasej skolc spojenie ryucby s praxou je
zakladnou koncepciou pedagogickej prace. Vyucba
prebieha v uzkej spolupnki a nadvliznosti na predmet
scenicke vytvarnictvo.
I V roku 1968, ked' sa zriadilo specializovane
st(tdium divadelneho kostymu, koncipovato sa podia
spolocneho ueebneho planu, v ktorom boli
specializovane tieto predmety: koscymove
rytvarnfctvo, realizacna technika, dielenska
a javiskova prax, technol6gia materialov,
strihova technol6gia a ryvoj historickeho odevu.
I Styri samostatnc uvodnc temy studia kostymovej
tvorby mozu byt' rozdelene do niekofkych
semestrov.
1. Dramaticko- vytvarny vyraz
I Kontrasty (napriklad v spolocenskom diani,
emotivnom prejave a vneme, v prirode, priroda
kontra technika a pod.). Praca je zaloiena na studiu
kontrastov dramatickeho napatia, ich splyoutia
a vyjadrenia jednotnym vyrvarnym nazorom. Pracuje
sa klasickymi i netradicnymi rytvarnymi technikami
a praca sa koncf trojrozmernou maketou.
2. Literarna a hudobna terna (folk/6ma u!ma)
I Vychadza zo skusenosti a prace na prvej ulohe.
Moze cerpat' z historickych pramenov a vofne ich
stvamit'. Vyjadrit v dvojrozmernom aj trojrozmernom
navrhu . Realizovat'jednu postavu 1:1.
3. Charakterorvomy kostym
I Antiiluzlvna faktografia.
1 Studium sucasnej typo16gie clove ka, sucasneho
odievania a rozdietov odevu: socialne, etnicke,
spoloccnske, psychologicke a pod. djferencie.
I Studie vyrazu tv:he - masky.
I Ulohu d'alej aplikovat na pnku so sueasnym aj
historickym odevom pri tvorbe kostymorych ryprav.
4. Emotivny vyraz kostymu - forba a pohyb
1 Studie historickeho divadetneho kost:Ymu a jeho
vztah k dobovemu civilnemu odevu.
1 Rekonstrukcia doboveho divadelneho kost:Ymu
1:1.
I Navrby kostymov pre balet.
I Praca s draperiou a farbou, ich pouzitie
vpohybe.
1 Otoha sleduje doriesenie kostymovej vypravy ako
celku a jej vzfah k scene. Zdruzuje dramaticku
gradaciu kostymov a vzajomne vzfahy medzi
postavami zo stranky farebnej a tvarovej
kompozicie.
I Vyucba kostymovej tvorby musivsebezhrnut
vsetky tieto momenty, musi viesf studenta od
najjednoduchsich postupov k najzlozitejsfm, a to
v suvise s priestorom, do ktoreho kostym vstupuje
a s ktorym vytvara vizualnu a vyznamovu jednotu.
Zasluzily umelec, docent
OTIOSUJAN
I V umeni ziadne trvale a konecne riesenie
neexistuje. Absolvent skoly musi by{ preto schopny
(48)
dlhodobo sa rozvljat v praxi. So zretefom na rychly
wtvoj divadla a insccnacnych postupov je
pt avdepodobnc, ze sa po vstupe do praxe stretne
'l llplnc inou situaciou, nez v akej pracuje does v skole.
M o ho pripravit docs na buducu zmenenu situaciu
111~ . aby maximalne uspel? Aj ked' sme, samozrejme,
~odl<lpni vyabstrahovat z dlhodobeho trendu ryvoja
ld o tcndencic, tieto poznatky nestacia nato, aby sa
d.tlt absolutnc konkretizova(v uccbnych planoch.
I !\/ova kvalita vznika v umcni ten v kontexte
il nadv~iznosti na sucasne progreslvne tendencie, ich
dllhtm rozvijanim a lebo ich negaciou. Zlikladnou
podmienkou adaptabilnosti a tvorivosti absolventa
v huducnosti je tcda jeho htboka, intimna a tvoriva
.putost' s tym, co je v divadlc najprogresivnejsie
dills.
1 Nnjprogresfvncjsic tendencie vedu k timovej
p1 11d. Zakladnou mct6dou prace v time je
ko munik~kia, dial6g medzi jednotlirymi zlozkami
IVortveho stabu. Vcdoce postavenie v time si
tut:ltovava reziser. Nic je to vsak uz nadumelec
II .,au tor" insccnacie z cias avantgardy. Zastoj
lt•dnotlivych zlozick je relatfvne vyvazeny, umerny ich
111 lnosu k formovaniu ideovo-umeleckej koncepcie
lnsc.:cmicie, ktora je je j organizujucim prindpom.
Vyraznym znakom sucasnych inscenacnych
pt incipov su vzajomnc presahy v kompetenciach
••llmnostiach jednotlirych zloziek. Vo vrcboloych
lll\(.'~ll aciach su tendencie k synteze take silne, ze je
lllCkl!dy nemozne identifikovat' podieJ jednottirych
, k nov tvorivcho timu na rysledku - inscenacii.
I hurakteristicke je cfalej usilie 0 interpretaciu die la.
Nulichava potreba spotocenskej vypovede a hlboka
opt>loeeoska angazovanosf tvorcov vedu cas to
k 111 amatizaciam aktualnych tern alebo rozsiahlych
llh:rarnych diet.
Mladc slovenske profesionalne divadlo
<llll;olvovalo ten to vyvoj v skratke. u nas premenu od
pnpisneho realizmu cez reminiscencie na avantgardu
II) podnes zazila jedna generacia divadelnikov. Skola
11l mi. V relatfvne knitkej hist6rii katedry sa preto
IICt<hame s vyraznymi zmenami v koncepcii ryucby.
1'1v(i gencracia absolventov bola vychovavaoa
1 lntcnciach iluzivneho realizmu. Sesfdesiate roky
,unmcnaju odklon od tychto tendencii. 0 spravnosti
1tcdajsieho smerovania skoly svedcia umelecke
~~~nbnosti, ktore v tom to obdobl skolu absolvovali.
Vyvoj sa nezastavil, denne sme koofrootovanl
lh)V(}U situaciou. Ukladnou motivaciou pre upravy
~lllKcpcie hlavneho predmetu a metod.iky
II 'I)
pedagogickej prace je usilie o maximalnu aktualnosf
vyucby. Cie fom je pripravit studenta po technickej
stninke tak, a by bol schopny pohotovo riesit' proble my
a formulovat' postoje; rozvljaf je ho tvorive
scbopnosti, teda vychovavat' umelecku osobnost'
s vlastnym umeleckym mizorom a pevnym ideov)im
zazemim. Predpokladom pedagogickej prace je 6zka
spatosf s umeleckou praxou a pokrokovymi
tendenciami do macej a svetovej divadelnej k ultury.
I V hlavnom prcdmete, v sulade s trend om vyvoja,
akcentujeme d ramaturgicke a rezijne aspekty tvorby,
schopnost' studenta koncepcne myslief. Predmet
integruje vyucbu pocas cele ho studia. Ostatne maju
cha rakter pomocnych prcdmetov a vytvaraju
podmie nky pre pnicu v hlavnom predmete.
I Vychadzame z nasledujucej premisy: scenografia
sa koncepcne podie fa na vytvarani javiskoveho diela.
G raficka dokumcntacia sceny, tak a ko aj
dramaturgicka priprava predstavenia a praca rezisera
s hercom su podmienujucimi, a le pomocnymi
stupnami, ktore maj(l komunikatlvny charakter.
Artefaktom je predstavcnie.
I Pre rozvinutie talcntu stude nta v tychto intenciach
vytvarame predpoklady v me todike vyucby:
1. Impulzom pre pracu v hlavnom pred me te je rozbor
textu a vypracovanie vytvarno-rezijnej koncepcie.
(Spoluucast' dramaturga a rezisera.)
2. Pracovny proces pocas celcho semestra sa bliZi
pnici v tvorivom time.
3. Zaldadnou met6dou prace je budovanie priestoru
na principe skicovania mizansccn.
I Hierarchiu uloh podriad'ujemezasade: od
jednoduchSieho k zlozitejsiemu. Prvy semester
- transpozicia pocitu z basne a lebo piesne do
divadelne ho priestoru. V d'aiSich prechadzame
v atelie rovej tvorbecelymi dejinami svetovej dnimy.
V klauzurnych pnkach zadavame spravidla realizaciu
tej istej hry a lebo nametu v inom zanri.
I Pri koncipovani predme tu vychadzame zo zasady,
ze scenograf musi vo svojej pnici spoj it' tie to
kompone nty:
1. Ako zakladny predpoklad vsetky discipliny
vytvarneho ume nia.
2. Schopnost' umeleckcho zazitku z literarnej alebo
hudobnej predlohy divadelncho diela a jeho
interpretacie vo vytvarno-rczijnej koncepcii
pripravovaneho predstavenia.
3. Schopnost' transponovai prijaru koncepciu do
divadelneho priestoru.
4. Schopnost' realizovai prijatu koncepciu.
JARMlLA C IHANKOVA-SEMIANOVA
I
I Pre dme t ma liarstva a grafiky pa tri k pomocnym
predmeto m vyuky scenickeho a kostymoveho
vytvarnlctva na VSMU. Uz pri tale ntovych skuskach
sa kladie vefky doraz na schopnosi v mafbe
a kresbe.
I Studium predmetu sa realizuje v deviatich
semestroch - tyzdenne tri hodiny mafby a hod ina
grafiky. D e lenic jc iba nimcove, vyuka sa zvacsa
prelina podfa ulo h. SkoHsa vytvame videnie, citenie
a prejav. Studuje sa tvar a priestor, te6riasvetla
a farby, farebnej harmo nic, kontrastu a kompozicie !
tvoria sa k6pie diel starych majstrov, anatomicke
studie, zatisia, krajina, architektfua, portret, draperi
oblecena postava, akt. Posluchaci sa nimcovo
oboznamuju s grafickymi technikarni a zakladmi
uzitej grafiky (plagat, graficka uprava, pismo).
1 Pri tejto vyuke je dolezita prazdninova prax
v prlrode. T rva dva tyzdne. Zucastnuju sa jej studenti
spolu s pe dag6gom maliarstva a grafiky a pedag6gom
dejln ume nia. Pri vybere lokaHt sa uprednostnuju
historicky a etnograficky zaujimave miesta.
I Ako pedag6g pristupujem ku kaidemu studentovl
individualne. R espektuje m je ho osobitosti v nadani
ana nich staviam dane ulohy.
I D overa v studentove schopnosti, zadavanie ulo h
s presne vymedzenymi technickgmi moznosiami, no aJ;
uloh s maximalnou m ierou s lobody vyjadrenia- tos4
met6dy vychovy buduceho scenografa.
STANISLAVA VANICKOVA
I Predmet kostymova realizacia ucl studentov
systematicky pracovaf od mivrhu az po fimilny
vyrobok - divadclny kostym . Z plosnej kresby
vytvorif trojrozmcrnyobjekt v textile.
I Uvodom do problematiky je navrh odevu
s mini malnym remeselnym zasaho m zo stvo rca, kruh
a lebo ich kombinaciou (zmnozene kruhy, stvorce,
kombimkia stvorca a kruhu). Stude nt pracuje
s cistymi, vefkymi tvarmi, skicuje v polovicnej mierko
a vybrany variant realizuje v mierke 1: 1 v textile.
Ten to vytvarny mate ria l sa musl vytvarne spracovat
(farbou, strukturou, ornamentom, patinou) podfa
typu odevu.
1 v d'alslch piatich semcstroch sa posluchac
postupne oboznamuje s historick.Ymi odevmi (so
strihmi, autcntickymi casfami a ich doplnkami).
(5
Praca pozostava:
I . z koplrovania dochovanych strihov 1:1;
2. tato k6pia sa realiz ujc v potrebnej vefkosti;
1 realizuje sa v pomocnom materiali;
4. realizuje sa v textile, vytvarnym dotvorenlm
1mituje au tent icky historicky odev.
Kazda praca sa realizuje na postavu, nie na figurinu.
th 1 new quality in arts can generate only in context
with present day progressive
It n kncics
by <.lc.!velup111g or negating them. To
t•ducate a personality, an artist with his own views and
.,n 1<.1 ideological background, capable of further
dt vdopmcnt is the final objective of the School's
11 •ning.
I In the main subject, in accord with the trend or
d ' dopment, the aspects of dramaturgy and direction
11 ... tressed together with the student's ability to think
11
conceptional w<1y. Scenographic work is the main
,u p.:ct integrating all courses. Other subjects creatt·
til ·unditions for the work 111 the principal one.
I I he conception of the subject is based on the
p• mciple, that scenography must combine the
lollt1wing components proportionally:
I \II the disciplines of visual arts (architecture,
Jl• 1111ing, and sculpture) .Is bas1c preconditions.
1
f hc student himself must be able to experience
11 tlstil·ally a literary or music work of theatrical
• h 11.1cter and to build its conception from the aspect
uf '''ual arts and dirl'Ction. The work's
1111 •rrctarion.
I k must be able to transpose this artistic
C:\i rience in accord with the accepted conception
' l theatllcal space. Materialization of an artefact.
I I he College gives the fo llowing conditions in
h': ' hing methodology to enable the student to
'"' d op his talent:
I. nalysis of text and elaboration of conception
lllllll the aspect of arts and direction is the impulse for
lh l \\ mk in the main subject. (Cooperation of
1 d r 1111aturge and a director.)
' Working process situates work in creative teams
1111 1ughout th~.; term. ( fhe student must defend his
"" k in a dispute with the dramaturgc and the
ll11 ~.: tnr.)
1111 I continuity
( ~I)
3. Space building on the principle of mise-en scenes
outlir11ng is the basic method of work.
STANlSl AVA VANI('KOVA
I Jn the subject of costume matcrialitation the
students arc t.tught how to materialize a design in
three dimensional textile object. The work begin"> with
artistic formation of clothes from squares and circles.
The students gmdually get tasks demanding greater
skills copying the styles of historical costumes on the
basis of preserved authentic material, so that they
could learn the constructional and shape regulations
of clothing in individual peliods. The tasks arc carried
out1n auxilliary material and by artistic completion
the students imitate historical costumes. They work
with living models not with dummies.
J/\RM IJ .A CII lANKOVA-SEMIANOVA
I Painting and graphic art arc subjects which arc to
guide the -.tudents and teach them to be able to
materialize promptly their ideas of settings and
costumes in designs. Already at the entry talent
exnrninations great attention is paid to the
investigation of the student's nrtistic talent. The
'>UbJcct trains artistic seeing, feeling, and expression.
Individual tasks arc aimed at developing the ability to
cope with shape, space, light, and colour and that to
imitate historical paintings. The subject deals with
graphic ar ttcchniques and pr 111ciplcs of applied
graphic art. lloliday practice aimed at studying
histm ical m chitccturc, pmnting in the open. and
getting familiar with objects of historical and
ethnographic significance represent part of the
traming.
NetA~r~•IYt>J ~ 'N.C.Vr;li
-
I"StJb?/l'll/'N//JS/1VI?.N/r fJP "J~l. Pt1)"llk~yl./lt ~i>U:STW~ LCt&'f-2 /'ll'M
n...,.,, .. """"-.~_,
Gita Polonyova,
I. rocnfk (J 970171)
Sofokles: Antigona
Jaroslav Valek,
3. roenik (1980/8 1)
Sofokles: Filoktetes
dagogicko-vychovncj cinnosti na katcdre. ktoni sa o~icr:•
progrcsivnc myslicnkO\·C zazemic. 0 prcvcrcnc lllCtodtckcAf~OS!UJ}Y '
. ) n:1rocnosf umclcckej divadelnej praxc. Vo vycho\ c ncmozc chybat
r cdov~ctkym poznanic, jasnc formulovany filozoficky n:lzor,
1 lldcckc osobnostne vyznanic a ovlatlanic. nickl'dy aj n.:mesclnych
tdlicich technik. Profcsorovi Latlislavovi Yychodilovi a jcho
danym spolupracovnikom sa podarilo uchopit vychovny pt oces
,omplcxnom vidcni a v ncust<ilomnacluidzani novych foricm
.
prostricdkov.l en takym sp6sohom sa im darf o.bjavovat~schopnc~stJ
>sluchacov a formova( ich do o:sobnostncho prcJavu. V sucasnost 1 sa
>ZClllC pochvaJi( V nasom divadeJnictve viaccrymi individualita~li ,
ore vysli z tejto katedry a ktore si razia smclu .t 'yraznu cestu melen
lomacom ccskoslovenskom, ale aj zahranicnom umem.
(52)
( 'i3)
Prof. Ph Dr. Jan Boor
I 0 slovcnskcj sccnografii sa dnes pisu
Milan Ferencik
3. rocnfk (1975176)
Navrhna
univcrzatnu sccnu
pre Sha kc spearove hry
knihy, venuje sa jej patricne miesto
v kritikach noryeh inscenacil (to
nebyvalo!), diskutujc sao nej na
konferenciach a symp6ziach, jej
vysledky sa hojne zverejnuju na
vystavach doma i v zahranici, z ktorych
si prinasa ccny a vyznamcnania, ma
woje me no a vaznost' vo svetc ... To
vsctko je radostnc, ale je za cym vcfa
pnke i zapasov. Levi podiel na tychto
snahach i uspechoch mala na zaCiatku
a rna i nadalcj Katedra scenickcho
vytvamictva a kostymu na Divadelnej
fakulte VSMU, ktora od zalozcnia skoly
u robila obrovsky kus prace na vyvinc
slovenskej scenografic, vychovala
takmervsetkych dnes profilujucich
slovenskych scenografov, ba i mnohych
zahranicnych. Zasluhu na tom maju
vsctci jej pedag6govia na celc
s mirodnym umelcom prof.
Vychodilom, kton!ho vcfke umenie
i medzim1rodne rcnomc je jcj najvacsfm
kapitalom. Mozno pre to s d6vcrou
hfadief aj do buducnosti a vyslovit
pcvne presvcdcenic, 7e tato katcdra
bude i nadalcj jednou z najplatnejsich
na Divadclnej fakulte VSMU a ze
zostanc zarukou bohateho pokroku
nasej scenografic i divadelncho umcnia
vobec.
F. Schille r:
M . Stua rtova .
R : M.Kakos,
S: M . Hafsahlovd,
K : C. Juriko vci,
P: 5. 12 .• L977
Divadelne studio
VSMU
Peter Canecky,
3. rocnfk(l 980/8 L)
W. S hakespeare:
Romeo a Julia
(54)
(55)
l
/ ¥:
(if.
/ ·"~'
~
!,
f
I
~
§
~
~
~
~
~
•
A
I'
f(}()tsrEU WI
I
I
~/1/'e.SSM-
•
\
'\
•
c
\
\
.,..:j\...=--·
Vladimir Cap,
3. rocnik (1980/81)
W. Shakespeare:
Vesele panie z Windsoru
•
·-
··-
>
Ntlrodny ume/ec. pro/ Jozef Budsky
I Ncnazdavam sa, ze mozno pridaf cstc daco ncvyslovcnc ku
konstatovaniu, ze odbor scenografic na VSMU v Bratislavc v jcho
pouccnosti, rozhl'adcnosti a konccpcii stlidia, jcho cicl'och
a preukaznnych vysledkoch bol vzdy na urovni vcl'kcho umcniil
at vorby jcho zakladatcl'a a hlavneho pedag6ga na tcjto skolc
- mirodncho umcka prol'csora Ladislava Vychodila.
I Formuhicic ako Lake ncm6zu nic viae ako pribliznc vystihnti( tcmu
Povazujcm prcto za potrebnc len zaznctmcnat', zc Ladislav Y)chodil
ako lllllL' kc I\\)[ ca-Sl'l' ll< )!!1 a r (I pcdag<')g prcdhdwl S\ () j cas \'tom, zc
urncnie divadclncj sccnografic a jeho pcdagogiku ncchc.ipal ako
spricvodnu alebo dokonca ilustrativnu zlozku javiskovcho dicla. a le
ako jcho zakladny komponcnt. ako javiskovo-dramaticky priestot
a k c i c chivno prc<ltym, nez
(56)
s sfonnuloval pre takto chiipanu a citenu scenografiu adekv{itny
az.
I DokJadom taktoch<l.pancj scenografic su studijnc plany tohto
n horu spolu s pcdagogickou praxou vnitanc skutocnosti. zc sa odbo1
:-. nografic - spolu s odhormi rczie a hcrcctvn - nacluidzal pod
s ,focnou strcchou Divadclnc j fakulty a zc sa posluch<ici sccnografic.
I
fCJl1 UZ SpOllllflUllYCh oclhorOV, ZUCaStJlOVali 0(.) SpOJOCil~j (')f'CdJl(lSk('
' ·minarnch, navysc s posluchacmi divadelnej vcdy.
Ak hovorfmc. sa javiskovc diclo uskutoci'tujc v pricstore a case.
' .u.lrujcmc lym s(tcasnc zakladne dimenzic bytia. Priest or rovnako
,1 , myslcnic a hcrcc su v ustavicnom pohybe.lcho ako v zivotc. ani
\ tviskovom umcnl ncjcstvujc nijak::l stalos( pnivc tak, ako nejcstvujc
11 1ka konccnost.
zc
(57)
Peter(;anecky,
3. rocnik (1980/81)
W. Shakespeare:
Romeo a Julia
Pavol Cisarik,
4. rocnik
(1980/81)
J.B. Moliere:
Tartuffe
Jaroslav Valek,
3. rocnik (1980/81)
W. Shakespeare:
Romeo a Julia
Prof. lng. arch. Du.~an Kuzma
I Katedra scenografic a kostymoveho vytvarnfctva VSMU
v Bratislave vyznamnym sposobom zaplnila medzeru vo vychove
mladych scenografov, kostymovych vytvarnfkov v nasom umeleckom
skolstve. lste kontakty s touto katedrou umoznili mi zoznamit' sa s jej
pracou i sledovat jej vysledky.
I Chcel by som vyzdvihnllf jeden z kladov umeleckej pedagogiky,
spocivajuci v tom, ze nevychadza z dekorativistickych aspektov, ale ze
sa usilujeo priestorovu scenografiu. Ten to pohl'ad suvisi s mojim
(58)
( ~9)
a
. . ,#
<'.,., ..
Rastislnv Bohus,
4. rocnfk
(1971172)
J . Offenbach:
H offmanove
rozpn\vky
;!/!;·
A. S. Puskin: Tri male tragedic.
R : B. Uhfor, J. Praimary, S + K: J. Zavarsky,
P:9.3.1973
Divadelnestudio V SMU
tvorivym odhnrom, no domnicvam sa. :I.e uvcdcny umcle<.·ky postup
otvara inspiru juci priest or. ktoreho p6dorys d;lva rdiscrovi viaccr
tvorivc moznostJ
I 6alcj by som chcel zdot aznti skutocno:,t. zc na prad prcvaznc 1
viicsiny absolvcntov vidno snahu vych,H.lzaf vo svoj~j horh
z obsahovcho naboja insccnovancho diclaa ncubcrc~fsacesto u
apri6t nych postul<l.tov ci tcndcncif. Poznatkm jc zaistc viae, ale tict
dva v tom to rozsahu povazu jcm za podstatnc, ktorc hod no rozvfja( •II
f1 / Al)y
o~ • :tiA
v lmd(tcnosh
(60)
(6 1)
f/"f'ftlt.' 4
$ 1,\f'f'_.(', A-'\
'f•II'V)" 11'111~1'.
Vladimir Cap,
4. rocnlk
(1981/82)
R. Wagner:
Tristan a Izolda
JosefJelinek,
4.rocnik
(197 1/72)
J. Offenbach :
Hoffmanove
rozpravky
..
c
... ( ' ~ ,
-
?
.·.......
....•••
••
u ..
.. -
"'
'~
..
r
~
""
,.
.........
,~
.
~
-·
..~
'.
,.
....
(63)
i:i! '
'/
-~
(62)
.....
...
~--
.~',. ....... '
•..
·"
..
\.
"-.
}\~.
~
\
' .....
..
l
~:
....
...•
Tomas Berka
I Patrim dnes uz k strednej generacii absolventov Vychodilovej
skoly. Pred dvadsiatimi rokmi tato skola v intenciach eur6pskeho
i mimoeur6pskeho scenografickeho skolstva hrala nesporny prim;
a mena Vychodil, Purkyiiova, Bezakova lakali ku studiu posluchacov
z roznych kutov sveta. Pretoze na nej studoval maly pocet domacich
studentov, bola to vlastne medzinarodna skola. Myslim, ze k tomu
nedoslo len vdaka umeleckym 6spechom a medailam, ktore tito
pedag6govia ziskali na svetov)fch scenografickych a kostymovych
prehliadkach. Vychodilova skola lakala domacich i zahranicnycb
posluchacov najma nekonvencnosfou pedagogickych metod,
moznosfou studentov ciastocne participovai na koncepcii v)fuky
hlavnych predmetov, nevsednou toleranciou umeleckej osobnosti
profesora Vychodila ku studentskej nezrelosti a v neposlednom rade
jeho osobnyro, takmer rodinnym vzfahom ku kazdemu ziakovi. Pre
mila, -ktdry som prisiel k prof. Vychodilovi zo studia architektury,
ten to krok znamenal 6nik z prostredia neuprosnej exaktnosti do ,,rise
divov". Bolo to paf rokov novych, necakanych tern, zaujimavycb
a blavne nenalinajkovanych umeleckych programov, stretnuti
s mnozstvom zaujimavych fudi.
I Mimoriadne priazniva pedagogicka konstelacia na prelome
sesfdesiatych a sedemdesiatych rokov nam umoznila pravideln9 styk
s takymi osobnosfami ako bol Budsky, Zachar, Zaborsky, Huba,
Karvas, Kosler, Kriska ... Navyse Vychodilova skola mala v tych
rokoch v)fsostne atelierovy charakter. V atelieri sme travili vsetok
vofny cas. Vsetko sme tvorili i vyrabali v skole. V atelieri sapo
veeeroch debatovalo s ostatnymi kolegami zo skoly i mimo nej.
Umoziioval to neobmedzeny prevadzkovy cas vdaka dislokacti
atelierov v budove byvalej fary na Panenskej ulici - teda mimo areal
skoly. To vsetko uz patri minulosti - vacsina pedag6gov i podoba
atelierov.
I Dnes chodim opaf do tejto skoly - pre zmenu ako asistent prof.
Vychodila a doc·. Sujana. Ale to je UZ ina skola- nova, umiestnena
v starodavnej Academii Istropolitane, skola dostojna co do minulosti
a vedm, ze i do buducnosti. Je na nas mladsich, a by sme o dobry kredit
Vychodilovej skoly vo svete neprisli.
(64)
lozef Ciller
' Scenograf dneska potrebuje vzdelanie divadelne a architektonicke.
Potrebuje znalosti technicke, technologicke. Musf vediet o vsetkom
nieco a 0 niecom vsetko.
Droveii skoly je dana trojuholnfkom, ktocy ohranicuju: koncepcia,
, radlcia a pedagogicky zbor.
Je nasfm specifikom, ze scenografia sa studuje na Divadelnej
•akulte. Tu som poznal divadlo, svojich zivotnych spolupracovnikov,
~ ktorymi spolupracujem dodnes a dostal som rozsiahlu profesionalnu
orientaciu.
1 Tu som po prv)f raz vide! v skolskom divadelnom studiu vo svctlc
1 flektorov realizovane to, co som vymyslel.
I Tu som zacal byt spolutvorcom tradicie tejto skoly. Tesfm sa, ked'
mozem k rctazi tradicic prilozif ohnivko 6spechu.
I Vsetci nasi pedag6govia boli aktivnymi pioniermi a spolutvorcami
slovenskeho divadla, preto aj nasa priprava a vclenenie sa do
profesionalneho divadclneho zivota prebiehalo organicky.
Mona Hafsahlowi
I V rokoch 1973 - 1978 studovala som scenicke v)ftvarnfctvo pod
vcdenlm profesora Ladislava Vychodila, ktory rna naucil divadelne
mysliet. Nevyzadoval len remeselnu zdatnosf. Naucil rna chapat
~cenografiu ako zlozku celkovej strukttiry divadla. Inspiroval nas
"- netradicnemu vyuzitiu materialu, svetla, farieb a priestoru. Odvtedy
jl pre mila jasne, ze seen a rna byf funkcna, rna odkryvat nove vyznamy
a myslienkovo podnecovaf ostatnych spolupracovnikov.
I Profesorka Ludmila Purkyiiova rna v priebehu studia podporovala
v hfadani mojho vlastneho vyrazu vo sfere modemeho kostymoveho
vytvarnictva. Vzdy mala na mysli vytvarnu a myslienkovu jednotu
predstavenia a najma vystihnutie charakterov jednotliv)fch postav.
(65)
Gila Polonyova,
4. rocnfk ( I 973/74)
Mtlan Ferencik,
•1. rocnik ( L976/77)
B. Brecht:
Zobracka opera
A Visncvskij:
Optimisticka tragedia
(67)
...• .....
... .
•
Mona Hafsnhlovd,
4. rocnik (1976/77)
13 . Brecht: Muzako muz
Miroslav Matejka,
4. rocnlk(1976/77)
B. Brecht: Muiako muz
(68)
(69)
.
I I •• •
• fl~
Gita Polonyovti,
4. roenik (J 973174)
M . Gorkij: D eti.
R: B. Uhltir, S: J. Zavarsky,
I. Witkiewitcz:
Vodna sticpka
K: N. Simunovti, P: 23. 2. 1974
Divadelnc studio
VSMU
Nod'a Simunova,
5. rocnfk
(1975176)
b. von Horvath:
Kazimir
a Karolina
Maria Zubajova,
4. rocnlk
(1975176)
K. Cape k:
Biela nemoc
(70)
(71 )
Vladimir Suchanek
I Bot som jednym z tych, co ukoncili studium scenografie, ked sa
tento odbor na skole len zacfnal formovaf. Najzaujimavejsie boli pre
nas prve stretnutia - prve inscenacne postupy, ktore sme ako studenti
navrhovali a realizovali v Divadelnom srudiu VSMU v Redute. Bolo
ch neurekom. Pri prvych dotykoch s divadlom nas profesor Vychodil
viedot a ukazoval nam, ako preCftat divadelnu hru, ako hfadat'
nezvycajne i priznacne crty atmosfery diela a ako treba pristupif
k zaktadnemu podorysnemu cleneniu priestoru, k farebnosti,
k osvetleniu a k charakteru koscymov. Nemozem nespomenut
vynikajuce pedagogicke a umelecke osobnosti, ktore boti pevnymi
piliermi vtedajsej skoty a umelecky-mi vzormi pre studentov, ktore
nam vedeti dat prve a myslim aj tie najspravnejsie impulzy pre
Javiskovu a divadelno-priestorovu tvorbu. Bolito Ladistav Vychodil,
JozefBudsky, Karol L. Zachar, Ludmila Purkynova.
I Co mi data skola? Uviedla rna do staleho a neopakovatefneho
rytmu hl"adania toho umeleckeho a divadelneho smeru, v ktorom
kracam a z ktorcho by som sa nerad odchylil.
Gi1n Polonyovti:
4. rocnfk (1973/74)
I. Witkiewic-J::
Vodmislie p ka
ltin Zavarsky
Skola narodneho umelca profesora Ladistava Vychodila bola
predovsetkym skolou myslenia o divadle. Myslenia pomocou
"ytvamych prostriedkov. Neprijfmal efektne, no togicky a dramaticky
nezdovodnene riesenia. Nutil mysliet a uvaiovaf o dramatickom texte,
priniest novy postreh a novy pohfad.
Bolo zrejme, ze vyiadoval, aby sme kvalitu myslenia overovali
praxou a praxou korigovali myslenie. Skola umoznovata tuto
'zajomnu vazbu. Spojila priestordivadtas priestorom atelieru
prostrednictvom Divadelneho studia VSMU v Redute. Tak sme zacali
pravidetne timovo spolupracovat' skolegami-postuchacmi rezie,
dramaturgie a divadelnej vedy. Bol to nemaly pocet premier. Vtedy
vyucovali na skole spolu s nasim profesorom divadelne osobnosti,
ktore spolurealizovali vefku etapu ceskoslovenskeho divadla
sestdesiatych rokov. Vyueovanie praxou a moznost konfrontovat
svoje predstavy o divadle s osobnym prikladom tychto tvorcov - to je
lm pulz, ktory nas vsetkych urcil a nasmeroval.
(11)
J . Pauer: Taravy Stimak.
R. M. Fische r, S. + K.: H. Beztikowi, P: 11. 4. 1961
.5tefan Hudak, 5. rocn fk (1976/66) P. Kyrmezer: Komedia o Tobiasovi (navrh sceny
u kostymov a ukazky z realizacie v Divadle pantomfmy v Bratisl~ve)
DivadeJne studio VSMU
(74)
(75)
- 1
--
V. K. Kli.cpera:
Hadrian z Rimanoviec.
R : J. Bindzar, S: J. Zavarsky,
K : M . Rozkopfowi,
P: 15. 4 . 1972
Oivade lne stUdio VSMU
Rastislav BohuJ,
V. K. Klicpera:
Divotvom y klobuk.
R : M . Peterich,S: M. Zubajo va,
K: G. Krajcovii!ova,
P:22.3. 1975
Divadelne studio VSMU
4. rocnik ( 197 .1/72)
J . G. Tajovsky:
Statky-z miitky
lo cfJclmck
Ked sr z. od!.tupu casu ~pommam na stuclcnt~kc roky na Vysok.ct
skolc muzicb,ch umcnr. ccnlm si najma dvc skutocnosti:
rnoje zaujatic sccnogr afiou sa mohlo rozvinuf vdaka systcmatickl::J
vyukc a domysclncj koor dmacir pr aktickych a tcor etrckych prcdmctov
od vcdcmm sku!.Cil)ch pcdagogov;
mal som mo7nost rc.tlrzovat 'ic:tcerc skol:;kt: kost)movc i sccmckt
ypravy' diclnach Slovcnskcho narodnchn dl\ aclla a takto sc~
oznamit s prcvadzkou a tcchnologi,mti.
Ohidve tlcto skutocnosu som occnrl po vstupc do anga:lman.
lrskanc vcdomostJ <1 skuo;,enosti "iOill prehlboval v prrcbchu SVOJCI
tr nastrocnej pr axe\ chv.tdlach. vo frl me aj v tclevr;.-ii.
(76)
(77)
Neznamy autor:
Chytractva majstra Pathclina.
R : M. Gogt'ifova, S + K: J. Jelfnek,
P: 6. 5. 1972,
Divadelne studio vSMU
Jtin 1/muik
I Malsom st'astic, po studiu figun\lnl.!j mal'by na Vysokcj skole
vytvarnych umcni v Bratislavc dostal som sana vynikajticu skolu
sct.:nografie prof. Ladislava Vychodila. Strctnutic s tymto vz<icnym
clovckom, pedag6gom a umelcom popri
zfskanych skt'iscnostim:h
maliarskych z prcdoslcho studia dalo mi pretlovsctkym pricstorov~
vidcnic, dtvaddnu oricntaciu a zo7namcnic sa s pntcou scenografa na
Javisku. Prof. Vychodtl v prnktickych cviccniach m\s vicdol do
sccnickcho n<lvrhu a tcchnickej dokumcntacic co rcaliz<kiu vo vyrobc
a/ po stavacic a svctclne skusky.
Na skolc som sa naueil pre divadlo priznacnc j kolcktivnt.:j prcici.
Rad by som podakoval prof. Vychodilovt a ostatnym pcdag<)gom za
to, som moho I takto pripravcnyvstupif do praxc.
zc
uz
ze
(78)
(79)
Juraj Fabry,
3. rocnfk (1978/79)
A. Jirase k: Lampas,
maketa
VVSOKA ~KO LA MUZICKYCH U MENi
lliVADE LNA FAKULTA
Jtdtskova 3
HI 3 0 1 Bratislava
Ceskoslovensko
KATEDRA SCENlCKEHO A KOSTYMOvEHO
VYTVARNICTVA
Zakladatef katedry: m'irodny umelec prof. Ladislav
Vychodil,
vcduca katedry: zasluzila umelkyi\a, prof. Ludmila
Purkyt1ova,
tajomnicka katedry: odb. as . .EugeniaSikorova.
INTERNY PEDAGOGlC:KY ZBOR
narodny umelec, prof. Ladislav Vychodil,
zash1iila umelkyi\a, prof. Ludmila Purkynova,
zash1:Wy urnelec, doc. OttoSujan,
odb. as. Jarmila Cihankova-Semianova,
odb. as. Eugenia Sikorova.
I Katedra zabezpecuje vychovnovzdelavad proces
v spolupnici s odbornikrni z praxe, ktori posobia ako extern I
pedag6govia. (Ich mena uvadzame za predmetmi, ktore
vyucujtL)
I Studium je patrocne a podmienkou prijatia na skolu je
ukoncenie strednej skoly S maturitou a llSpesne vykonanie
tale ntovej skusky. Posluchaci na skole studuju predmety
spoloen<!ho zakladu spolu s posluchacmi tychto odborov:
herectvo, divadelna a opema rezia, balct, divadelna
a filmova veda, dokumentarna tvorba, filrnova a televizna
dramaturgia a scenaristika, televizna rezia a produkcia. Na
katedre scenickeho vytvarnictva sa vyucuju tieto
predmety:
scenograficka tvorba
a) scenicka tvorba (L. Vychodil, 0. Sujan, T. Berka),
b) kostymova tvorba (L. Purkyi1ova),
c) rciijna a herecka tvorba (0. Sulaj, J. Blaiek, J. Holicka),
d) scenicka realizacia (0. Sujan),
e) kost)lmova realizacia (S. Vanickova,
K. Trizuljakova-Bohmova, G. Duchonova),
f) televizna scenicka tvorba (0. Sujan),
g) scerucka techruka (V. Hazucha),
h) scenicke svetlo (V. H azucha);
zaklady vjtvarnej a arch.itektonickej tvorby
a) maJiarstvo (J . CiMnkova),
b) grafika (J. Ciluinkova),
c) sochiirstvo (J. Me b1l),
d) architektura (J. Jakubik, R. Janak);
riadenie a organizticia divadla (J. Krisfak) ;
dejiny a teoria vjtvarnej kultury a divadla
a) dejiny a te6ria scenografie (0. Sujan),
b) dejiny a te6ria vytvameho umerua (E. Sikorova),
c) hmotna kultura (S. Kovacevicova,L. Purkynova,
E. Sikorova),
d) dejiny divadla (S. Simkova, G. Leinerovicova,
E. Stric),
e) te6ria divadla, opery a baletu (G. Leinerovicova,
J . Blazek, E. Stric, J . Holicka);
zdklacly p~ychologie(J. Vopalensky),
vybrane state z ekonornicko-prdvnych predpisov v divadltich
(J. Krisiak),
odevnti technologia (G. Duchonova),
zaklady fotografie(J. KriZik),
deskriptfvna geometria (J. Frecerova),
kurzstrihovej technologie(I:... Juriova),
prax v scenickej a kostjrnovej vjrobe (v UD D SND )
p ra.x mal'ovania v prfrocle(.J. Cihiinkova, E. Sikorova).
Sludium v tret:om rocniku sa speciabzuje na:
a) scenicke vytvarnictvo,
b) kostymove vytvamictvo (od r. 1968),
c) scenicka realizacia (od r . .1981),
d) koscymova realizacia (od r. 1983).
1 Studenti svoje m1vrhy realizuju v skolskom divadelnom
studiu, kde je rocne 5-6 premier (Cinohra, opera a balet).
I V poslednych piatich rokoch katedra reagovala na
potre by umcleckej praxe orientaciou vychovy s merom
k realizacnym disciplinam. V roku l 981 otvorila
specializaciu scenicka realizacia a v roku 1983 kostymova
realizacia. Pre skvalitoenie umeleckorealizacnej zlozky
v slovensrych divadlach zriadila v rokoch 1983 - 1985
dvojrocny kurz umeleckeho maskerstva, v roku1985
zapocala vyuku v studiu popri zamestnani v specializacii
kostymova realizacia a dvojrocne studium vybranych
predmetov pre studentov Slovenskej vysokej s koly
technickej, buducich pracovnikov v oblasti vystavby
a vybavenia kultumych stavieb. V spolupr:ki
s Doskofovacim ustavom Mioisterstva kultliry SSR
pripravila vzdelavacie cykly pre pracovnikov technickych
prevadzok divadiel.
I Poeas trvania katedry tu vystudovali viaceri zahra nicni
studenti. Formou riadneho studia (v jazyku slovenskom)
alebostaze (v jazyku nemeckom) v rozsahu 1 - 4 semestre.
Zahranicni studenti sa mozu na obidve formy studia prihh\sit
prostrednictvom svojich uradov preskolstvo. Podmienkou
stlidia je uspesne zlozena talentova skuska.
(80)
COLLEGE OF MUSIC AND DRAMA,
FACULTY OF THEATRE ARTS,
Jiras kova 3,
813 01 Bratislava,
Czechoslovakia.
DEPARTMENT OF SCENOGRAPHY AND
COSTUME DESIGN
Founder of the De partment: People's Artist, Professor
Ladislav Vychodil, Head of the De part ment: Senior
Lecturer, Merited Artist Ludmila Purkyi\ova, D e partment's
Secretary: Assistent Lecturer Eugenia Sikorova.
INTERNAL PEDAGOGIC STAFF
Professor Ladislav Vychodil, People's Artist
Professor Ludmila Purkyi\ova, Merited Artist
Doce nt OttoSujan, Me rited Artist
Assistant Lecturer Jarmila Cihankova-Semianova
Assistant Lecturer Eugenia Sikorova.
I The Department cooperates also with experts working in
other places of work, who teach at the department as
external lecturers. Their names are presented together with
the subjects they teach.
I Studying scenography takes five years. Successful
passing the leaving examinations from a secondary school
and passing the entry talent examinations entitle a student to
study at the College. The students of scenography study
together with those studying acting, theatrical and opera
directing, ballet, theatre and film science, documentary
works, film and te levisio n dramaturgy and screen play
writing, television direction and production, and attend
lectures in common basic subjects. The following subjects
are taught at the Department of Scenography and Costume
Design:
Scenography
a) scenography (L. Vychodil, 0. Sujan, T. Berka),
b) costume design (L. Purkyi1ova),
c) direction and acting (0. Sulaj, J. Bla:lek, J. Holicka),
d) setting materialization (0. Sujan),
e) costume mate rialization (S. Vanickova,
K. Trizuljakova-Bobmova, G. Duchonova),
f) television scenography ( 0. Sujan ),
g) stage technology (V. Hazucha),
h) stage illumination (V. H azucha);
basics of arts and architecture
a) painting (J . Cihankova),
b) graphic art (J. Ohankova),
c) sculpture (J. Metis),
d) architecture (J. Jakubik, R. Janak);
management and organization oftheatre (J . Krisfak) ;
history and theory of artistic culture and theatre
a) history and theory of scenography (0. Sujan),
b) history and theory of arts (E. Sikorova),
(81)
c) material cultme (S. Kovacevieova, L. Purkyi\ova,
E. Sikorova),
d) history of theatre (S. Simkova, G. Leinerovieova,
E. Stric),
e) theory of theatre, opera, and ballet (G. Leinerovicova,
J. B laiek, E. Stric,J. Holicka);
basics ofpsychology (J. Vopalensky),
selected paragraphs from economic-legal regulations for
theatres (J. Kristak),
clothing technology (G. Duchonova),
basicsofphotography(J. KriZik),
descriptivegeomeuy(J. Frecerova),
cow :re in style technology (I:... J uriova),
p ractice in setting ami costume production (in the Workshops
of the Slovak National Theatre in Bratislava and STYL
Prague),
practice in painting in the open (J. Cihankova, E.
Sikorov:i).
In the third year s tudents can specialize in :
a) scenography
b) costume design (since 1968)
c) setting materialization (since 1981)
d) costume materialization (since 1983).
I The students materialize their designs in the School's
Theatrical Studio, as there are 5- 6 premieres annually
{plays, operas, ballets).
I In the last five years the D epartment responded to the
claims of artistic practice and oriented the educational
process to materialization disciplines. rn 1981 specialization
in setting materialization was opened and in 1983 that in
costume materialization. To improve the
artistic-materializational component in Slovak theatres the
De partment opened a two year course in artistic maski.ng in
1983- 1985 and i.o 1985 started extramural courses in
costume materiaJization and two year courses of selected
sub_jects for the students of the Slovak Technical University,
who would work in the sphere of building and furnishing
cultural facilities. In cooperation with the Institute of
Complementary Courses of the Ministry of Culture the
De partment prepared educational cycles for those engaged
in tech nical operation of theatres.
I Duri ng the De partment's existence several students from
abroad graduated from the College, either as internal
students (in Slovak language) or by form of study stays (in
German language) taking from 1-4 terms. Foreign students
can apply for both forms of studying via their representative
schools authorities. Successfully passed talent entry
examinatio ns are the only condition.
Maria Zubajova,
3. roenik (1974175)
Studie aktu,
kresba tuSom
AleS Votava,
3.roCnik
(1983/84)
Studie
prirodnych
motivov
z prlizdninovej
praxe
(82)
(83)
JanLaluha,
3. rocnik (1983/84)
Fragment barokovej
architektury,
mafba temperou
Jaroslav Valek,
4. rocnlk (1981182)
Zatisie,
mafba temperou
(84)
(85)
PEDAGOGOVlA, KTORf POSOBILI NA KATEDRE SCENOGRAFIE OD VZNTKU SKOLY
Hlavneodbom.epredmety:
Antalova, Elvira
Berka, Tomas
Beuikova, Helena
Brezina, Martin
Cemieky, Ladislav
Cihankova, Jarmila
Ciel, Igor
Duehonova, Gabriela
Gabor, PavoiMaria
Hazueha, Vladimir
Hupka, Ladislav
Katusa, Oto
Kovacova, Judita
Korkos, Ludwik
Kudlac, Frantisek
Laluha, M.ilan
Lchotsky, Eugen
Lugs, Teodor
Melis, J uraj
Milly, Dezider
Pasteka, M.ilan
Peehr, Cestmir
Pietor, Milos
Purkynova, Ludmila
Romberg, M.ichal
Suchanek, Vladimir
Sujan, Otto
Sulaj, Ondrej
Valocky, D usan
Vanickova, Stanislava
Vyehodil, Ladislav
Zavarsky, Jan
(maliarstvo)
(seen. tv., seen. real.)
(kostym. tvorba)
(seen. tvorba)
( maliarstvo)
(maHarstvo, grafika)
(rez. tvorba)
{kostym. real.)
(seen. tvorba)
(javiskova techn. a sveLlo)
(televizna seen. tvorba)
(rez. tvorba)
(kostym. tvorba)
(soeharstvo)
(maliarstvo)
(maliarstvo)
(maliarstvo)
(soeharst vo)
( socha rstvo)
(maliarstvo)
( maliarstvo)
(seen. vytv., grafika)
(rez. tvorba)
(kostym. tv., maliaJ·stvo)
(kostym. tvorba)
(seen. tv., maliarstvo)
(seen. tv., seen. real.)
(rez. tvorba, te6ria div.)
(maliarstvo)
{kostym. tv., kostym. real.)
(seen. tvorba, seen. real.)
(seen. tv., seen. real.)
1960/61
1983/84 - dodoes
1972/73, s prestavkami dodoes
1951/52-1955/56
1956/57
1971/72- dodoes
1972173, 1973/74
1985/86 - dodoes
1961 /62, 1972/ 73,1973/74
1952/53- dodnes
1971/72,1981/82,1983/84
1974175, 1975/76
1972/73
1969/70, 1971/72
1972173
1963/ 64-1966/67
1955/56, 1958/59
1971/72
1973/74, s prestavkami dodoes
1952/53
1962/63
1962/63
1971/72, 1977/78
1955/56 - dodnes
1977178
1973/74, 1974/75
1966/67, 1968/ 69 - dodoes
1979/80- dodoes
1957/58
1963/64, 1969170 - dodnes
1951/ 52- dodnes
1978179, s prestavkami dodoes
Prehlbujuce odbome predmety:
Absolon, I.:.udovit
Beizetzer, Ladislav
Bohle, Ursula
Bohmova-T rizuljakova, Katarina
F recerova, Jelen a
Hellmieh, Julius
Huntier, Jozef
Jakubik, Juraj
Janak, Rastislav
Juriova, I.:.udmila
Kristofovic, Mario
Krizik, Jan
Piffl, Alfred
{uiklady fotografie)
(zaklady architektury)
( umeleeke vlasenkarstvo)
(kostym. real.)
( deskript. geometria)
( umeleeke rnaskerstvo)
(uiklady architektury)
(zaklady arehitektury)
(zaklady arehitektury)
(strihove konstrukeie)
(zaklady (yziky)
(zak1ady fotografie)
(zaklady arehitektury)
1978/79
1978/79
1983/84, 1984/85
1986/87
1969170 - dodoes
1983/84, ] 984/85
1978/79
1980/81,1983/84,1984/85
1977178
1984/85 - dodoes
1977/78, 1978/79
198 J /82, s prestavkami dodoes
1970171 , 1971/72
Predmety teoretickeho ztik/adu
( okrem pedag6gov inyeh katedier VSMU)
Ba1·tko, Emil
( dejiny tanca)
Benes, Juraj
(dejinyopery)
D obesovii-Luxova, Viera
(dejiny vytv. umenia)
Holicka, Jan
( dejiny ope1y) .
{dejiny vytvar. umenia)
Janci, Zdenek
Kahoun, Karol
(dejinyvytvar. umenia)
Kara, Lubor
(estetika, dejiny vytvar. umenia)
Kovacevicova, Sona
(hmot. kultura)
Kounl, Miroslav
(te6ria scenografie)
Kristak, Jan
(org. a riadenie divadla)"
Mudroehova, Natalia
( dejiny vytvar. umenia)
Pastorova, Aliea
{dejinytanea)
Peterajova, I.:.udmila
(dejinyvytvar. umenia)
Pi.ffl, Alfred
(hmot. kult(rra)
Porubjak, Martin
(te6ria divadla)
Purkynova, Ludmila
{dejiny vytvar. um., hmot. kult.)
Samko, Jozef
(dejiny opery)
Simun, Ladislav
(anat6mia pre vytv.)
Sujan, Otto
(te6ria scenografie)
Zelenka, Vladimir
(riadenie diel. vyroby)
Odborru! praxe:
Bocekova, Zuzana
C6ka, Ladislav
Duehonova, Gabriela
Granec, Fridrich
Hojova, Eva
Kozfk, Jan
Linhardtova, Maria
Michalek, Stefan
Novak, Jan
Nemeth, Stefan
Neklapil, Milan
Ondrus, L:ubomir
Seliga, Dusan
Sulka, Stefan
Sehmiedova, Boiena
Zelenka, Vladimir
(88)
(89)
1983/84
1978/79, 1984/85
1966/67
1985/86
1971 /72, 1972173
1956/57,1957/58, 1973/74, 1975/76
1971/72
1953/54, s prestavkami dodnes
1963/64- 1966/67
1985/86
1965/66, 1967/ 68,197 1/72
1977/78, 1978/ 79, 1982/83
1961162- 1963/64
1970171, 1971 /72
1976177-1978179
1955/56 - dodoes
"1974/75
1983/84, 1984/ 85
1966/67, 1967/68 - dodnes
1983/ 84
Fabry, Juraj
Fifikova, Jana
Chmelova, Zuzana
Konarzewski, Jakub
Canccky, Peter
Valek, Jaroslav
Pietor, Milos mi.
Cap, Vladimir
Szapuova-Balazova, Maria
ZOZNAM STUDENTOV
Prfpravne rocniky na VS vu alebo s VST:
Sujan, Otto
Gabor, Pavol Maria
Hanak, Jan
Majda, Oldfich
Baranek, Alojz
Bonta, Stefan
Bezakova, Helena
Fedorjak, Frantisek
Perger, Frantisek
Suchanek, Vladimir
Beniela, Milan
Hudak, Stefan
Chladna, Anastazia
Luzinsky, Tibor ·
Sustrova, Teodora
zahorova, Eva
Ciller, Jozef
Erdely, Gabriel
Hugai\, Jaroslav
(1951 - 1955)
(1951 - 1955)
(1951 - 1955)
(1951-1953)
(1953-1957)
(1956- 1959)
(1959- 1962)
(1959-1960)
(1959-1962)
(1959-1962)
(1962- 1963)
(1962- 1966)
(1962-1963)
(1962-1966)
(1962-1963)
(1962 - 1963)
(1964 - 1968)
(1965 - 1969)
(1965- 1970)
vytvamik, Nova scena, Bratislava, docent VSMU
vytv., SND, Bratislava
vytv., Stat. divadlo, Kosice
UDD, SND
vytv. v slob. povolanf
vytv., DJZ, Presov
vytv., SND, Bratislava
S1:tcasni posluchaa (realizacne smery):
vytv., DAB, Nitra
vytv., SND, Bratislava
Laluha,Jan
Liptak, Frantisek
Mojzis, L.ubomir
Votava, Ales
Belohradska-Pavelkova, I.:.ubica
Nagyova, AIZbeta
Tomanova, I veta
Hojova,Eva
vytv., ST, Kosice
vyty., ST, Bratislava
vytv., DSNP, Martin
vytv., ST, Bratislava
vytv., ST, Bratislava
Gasparovicova, Eva
Ivicicova, I veta
Jurikovicova, He lena
Lukacova, Jana
Pavliskova, Gabriela
Revay, Emil
Si makova, Karol a
(1968-1974)
(1968- 1974)
(1968-1973)
(1968- 1974)
(1968- 1972)
(1968-1971)
(1969-1974)
(1970- 1975)
(1970- 1972)
(1971- 1977)
(1971 - 1976)
(1971 - 1976)
(1972 - 1978)
(1973-1974)
(1973-1978)
(1973- 1978)
(1973 - 1978)
(1 973 - 1978)
(1972- 1978)
(1973- 1977)
(1973-1976)
(1974- 1979)
(1974-1976)
(1975 - 1980)
(1975 - 1980)
(1977- 1980)
(1 976-1982)
vytv., Nova scena, Bratislava
vytv ., DJGT, Zvolen, slob. povolanie
vytv., DPB, Ostrava
vytv., DPDM, Trnava
vytv., Nova seen a, Bratislava
vytv., SD, Kosice, slob. povolanie
vytv., DP, GottwaJdov, ND, Praha
vytv., DSNP, Martin, ST, Bratislava
(1981 (1981 (1981 (1981(1983(1983(1983{1983 -
(1985 (1985 (1985 (1985 (1985(1985(1985 -
Mimoriadne SPZ:
vytv., SD, Kosice
designatthka, SND, Bratislava
vytv., Nova scena, Bratislava
vytv., ST, Kosice
Palatinusova, Beata
Simkova, Anna
Bulkova, Emilia
vytv., DAB, Nitra
vytv., ST, Bratislava, slob. povolanie
vytv., ST, Bratislava
vytv., DJZ, Presov, ved. kostym. vyroby SND
vytv. v slobodnom povolanf
Mimoriadne studium posluchacov S VST:
Buraj, Pavol
Moravcik, Peter
Sujan, Juraj
vytv. vHanoi, VDR
vytv. v Hociminovom meste, VDR
vytv. v slob. povolanf, Mt:R
vytv., Katona J6zsef szinhaz Kecskemet, MI.:R
vytv., ST, Bratislava
vytv., DJGT, Banska Bystrica
(90)
(91)
vytv., DSNP, Martin, slob. povolanie
vytv., DJGT, Zvolen
vytv. vo Varsave, PI.:R
vytv., DJGT, Zvolen
vytv., DSNP, Martin
vytv., Nova scena, Bratislava
vytv., DJZ, Presov
slob. povolanie, m6dna tvorba
Zahranicni studenti na katedre
Studium popri zamestnani:
Studium VSMU:
Berka, Tomas
Bohu~. Rastislav
Roszkopfova, Marta
Zavarsky, Jan
Kovacova, Judita
Opletalova, Jarmila
Jelinek Jozef
Pol6nyova, Margita
Ofonda,Jan
Hanakova, Danica
Krajcovicova, Gabriela
Simunova, Nada
Zubajova, Maria
Kroslakova, Ivica
Ferencfk, Milan
Gfondova, Mana
Jurikova, t:ubica
Matejka, Miroslav
Hafsahlova, Mona
Kaanova, Soiia
Chochlfkova, Eva
Doan Thi Tinhova
DoDoanChau
J6jart, ZoHan
Ratkai, Er.l~'>ebet
Varossova, t:udmila
Cisarik, Pavol
(1976- 1981)
0976- 1981)
(1976- 1977)
(1976-1981)
(l 978- 1983)
(1978- 1983)
(1978- 1983)
{1978-1984)
(1978-1984)
(1985(1985 (1985-
(1985(1985(1985-
Zahranicni riadni posluchaCi:
Mona HafsahJova
(N6rsko)
Do Doan Chau
(Vietnam)
Doan Tinhova
(Vietnam)
Erzsebet Ratkaiova
(Madarsko)
Zoltan J6jart
(Madarsko)
Sttii.e:
Majja Pekkanenova
Peiia del Sol
Claudio Godo Barreto
Cardidad
Cordova-Cobelova
Hortensia De Las Nieves
Laferte Valdesova
LUsi Tandefeltova
Kaije Salaspurova
Chjara Mangiarottiova
Linda Salvova
Jyrky Samppa Tapio
Lahdenpera
Riina Ahoneuova
Vienna Rotkova
Verstraaten, Jan
Sari Maria Salmela
Ranum Torkil
Figueroa Alboaaroa
Humberto
Kristin Neremova
Leila Oksanenova
Liz Hellstromova
1972- 78
1974- 76
1974-79
1975-80
1975 - 81
(Finsko)
(Kuba)
(Kuba)
1970-72
1972-73
1972- 73
(Kuba)
1972 - 73
(Kuba)
(Finsko)
(Finsko)
(Taliansko)
(USA)
1972-73
1973-74
1973 - 74
1973-74
1973 - 74
(Finsko)
(Finsko)
(Finsko)
(Belgicko)
(Finsko)
(N6rsko)
1974-75
1975 - 76
1976
1977- 78
1978
1979- 80
(Mexiko)
(N6rsko)
(Finsko)
(Svedsko)
1980198219831983 -
81
83
84
84
INA PEDAGOGJCKA CINNOST KATE DRY
VYZNAMNE CENY A VYZNAMENANIA
ABSOL VENTOV SKOLY
vYSTAVY KATEDRY SCENOGRAFIE YSMU
I Na zaklade poziadaviek umeleckej praxe katedra
usporiadala ku rz umeleckeho maskerstva, ktoryodborne
pedagogicky zabezpecila za pomoci Hochschule fiir
bildende Kiinste v Dnizcfanoch. Pedag6govia oddelenia
Umeleckeho maske rstva doc. Julius Hellmich a Ursula
Bohle prednasali hlavne predmety - umclecke maskerstvo
a umelecke vlasenkarstvo. Kurz bol dvojrocny a uskutocnil
sa vskolskom rok'U 1983/1984 a 1984/1985.
1965 - Zlata medaila prezidenta Brazflskej republiky za
najlepsiu mlrodnu expoziciu kolektivnej vystave
Ladislava Vychodila a jeho skoly na 8. bienale
rytvarneho umcnia v Sao Paolo .
1967 - Strieborna medaila za scenografiu Vladimirovi
Suchankovi na PQ.
- Strieborna medaila za scenografiu P. M. Gaborovi
na PQ.
1970 - Za vy nikajucu pracu, vyznamenanie udelene
P.M. Gaborovi.
1971 - Zlata mcdaila z.a kostym Helene Bezakovej na
PQ.
- Striebormi medaila Stefanovi Hudakovi za
scenografiu na PQ.
1973 - Zlata medaila za kolekciu kostymov H elene
Bezakovej na 12. bienale v)itvarncho umcnia v Sao
Paolo.
- Cena ministra kultury ZSSR Stefanovi Buntovi za
vypravu k inscenacu HrnCiarsky bal v Kyjeve.
1975 - Z.lata n~edai.la Jozefovi Cillerovi za scenografi u na
PQ.
1977 - Cena belgickeho ministra kultury Jozefovi Cillerovi
na festivale v Gente.
1979 - Zlata medaila za scenografiu Jozefovi Cillcrovi na
PQ.
- Z lata medaila za kostym Margite Pol6nyovej na
PQ.
- Strieborna medaila za scenografiu Vladimfrovi
Suchankovi na PQ.
1981 - Zlata medaila kolektlvu kostymov)ich rytvarnikov
na 6. trienale scenickeho a kostymoveho
vytvarnfctva v Novom Sade (Hanakova, Bezakova,
Jelinek, Pol6nyova, Simunova).
- Z lata medaila za scenografiu Jozefovi CiUerovi na
6. triemlle scenickeho a koscymoveho vytvamictva
v Novom Sade.
1983 - Z lata medaila za scenografiu Jozefovi.Cillerovi na
.
PQ.
- Strieborna medaila za scenog1·afiu To masovi
Berkovi na PQ.
- Zasluzily umelec Otto Sujan.
- Z lata medaila za kostym Jozefovi Je linkovi na
PQ.
1984 - Z lata medaiJa Marte Roszkopfovej na 7. trienale
scenickeho a kostymoveho vytvarnictva v Novom
Sade.
1986 - Zaslu.zilyumelecJozef Ciller.
1965 - L. Vychodil a jeho skola - bienale Sao Paolo (zlata
medaila za naj1cpsiu narodn6 expoziciu)
- L. Vychodil a jeho skola - vystava v Havanc
a Budapesti (kulturne stredisko)
1966 - L. Vychodil a jcho skola - vystava v Ka hire
a Alexandrii, Parfzi (Divadlo mlrodov) a vTouluso
1967 - L. Vychodil a jeho skola- vystava na univcnit::ich
v Cbicagu, Pittsburgu a Mexico City
1967 - Yystava studentov a absolventov YSMU
- Vieden (informacny Ictal<)
- Leningrad, lnstitut divadla (informacny lctak)
pociatky druzobnych stykov medz.i skolami
1969 - Yystava scenografickeho skolstva - Bratislava
(Vystavna sien, Dostojevskcho rad),
spoluvystavujuce skoly
- Akademia muzickych ume ni .Praha, U nivcrzitn
v Pittsburgu a Flnska skola - rystava bola
venovana 20. vyrociu zalozenia YSMU
(informacny katal6g 0 kaidej skole)
1971 - II. praiske quadriem'ile - vydany rcprczentacny
katal6g
1972 - Ceskoslovensky divadelny kostym - Praha, Nova
sin- ucast' na vystaveDivadelneho ustavu Praha
(informacny katal6g)
1974 - Vystava prac studentov scenografie - Bratislava,
Galeria mladych, Mostova utica (katal6g
z prfJezitosti 25. vyrocia YSMU)
1976 - lll. praiske quadrienale - expozicia
scenografickych skoJ - Vystavna siil ULUY,
Narodni tl'ida (informacny letak v jazykovych
mutaciach)
1979 - IV. praiske quadrienale - expozfcia
scenografickJch skol - Park kulrury a oddychu JF
(in(ormacny plagat v jazykovych mutaciach)
1982 - lV. medzinarodny festival vysokych skol
divadelnych - Bratislava, Reduta (bulletin
festivalu)
1983 - Y. praiske quadriemlle - expozicia
scenografickych skol - Park kultury a oddychu J F,
Praha
- Dni divadelne j techniky skandinavskych krajin
- usporiadalo narodne stredisko OISTAT
v Stockho lme, vystava VSMU
1985 - Vefka Morava - ucasf na vystave, Dom kulttiry,
Bratislava
1986 - l. medzimirodny festival vysokJch skol divade.lnych
- Ales (Francu7.sko), vystava pradtudentov
YSMU
Absolventi kurzu ume/eckeho maskerstva:
Bicanova, Renata- SND, Bratislava - cinohra
Blizniak, Ondrej - DSNP, Martin
Cs6kova, Ed ita - MOD, scena TaHa v Kosiciach
Doktorova, Marta- Statny film, Koliba
Revay, E mil - DAB, Nitra
Rybnickova, Bozena- SND, Bratislava - UDD SND
Visibeli-Berkova, Monika- DJZ, Pre5ov
SEMINARE A SYMP6ZIA USPORlADANE VSMU
1977 - seminar o vychove scenografov spojeny s kurzom
technol6gii vytvarneho dotv<;>renia divadelneho
kostymu, ktory viedli odbornici z berlinskej Statnej
opery (150 ueastnfkov z 15 statov); filmov:Y
zaznam, vystava, zbornik vybranych prispevkov.
1981 - seminar venovany rezijnym aspektom vo vychove
scenografov, vystavky zucastnenych skol,
diapozitivy (30 ucastnikov z 9 statov), zbornJk
vybranych prispevkov.
1984 - seminar venovany v)ichove vytvamikov
realizacneho smeru (30 ucastnikovz8 statov),
vystavky ztleastnenych skol, videozaznamy
z vychovno-vzdehivacieho procesu, diapozitivy,
zbornfk vybranych prispevkov.
1985 - seminar o vychovescenografov na VSMU
a v Salzburgu (50 ueastnfkov z radov pedag6gov
a posluchacov oboch skol).
Spoluucasi VSMU pri usporiadani strctnutl zastupcov
scenografickych skol na DAMU v Prahe pri prllezitosti PQ
vrokoch l976, 1979a 1983.
( 92)
(93)
Katedra zabezpeciJa mensie kolekcie VSMU na vystavach
pri prflezitosti Dnf divadelnej techniky, ktore usporiadalo
narodne stredisko OISTAT, SVTS a SND v Ustrednych
divadelnych dieli\ach SND v rokoch 1977,1981 a 1984.
DAB
DAMU
DJGT
DJZ
DPB
DPDM
DSNP
MOD
OlSTAT
-
PQ
SND
ST
SVST
SVTS
SD
UDDSN D VSMU
-
Divadlo Andrej a Bagara
Di.vadelni Akademie muzickych umeni
Divadlo Jozefa Gregora Tajovskeho
Divadlo Jonasa Z3borskeho
Divadlo Petra Bezruca
Divadlo pre deti a mladez
Divadlo Slovenskeho narodneho povstania
Macfarske oblastne divadlo
Medzih3rodml o rganizacia scenografov,
divadelnych technikov a architektov
Praiske quadrienale
Slovenske narodne divadlo
Slovenska televizia
Slovenska vysoka skola technicka
Slovenska vedecko-technickaspolocnos(
Statne divadlo
Umelecko-dekoracne dielne Slovenskeho
narodneho divadla
Vysoka skola muzickych umeni
Udajc platne k junu 1986
Vyslo vo vydavaterstve Tat ran
v Bratislavc 1987 ako 4422. publikacia a ucelovy naklad
pre Ustav umeleckej kritiky
a divadclnej dokumentacie v Bratislave.
Pripravila Katcdra sccnickeho a kostymoveho vytva rnlctva
VSMU pod vedenim prof. Ludmily Purkynovej.
Pozml mkovy apa rat vypracovala odb. as. Eugenia Sikorova.
Prve vydanie. 96 stra n.
O balka a graficka uprava Karol Rosmany.
Vytvarm1 redakto rka Eva Jakabovicova.
T echnicka rcdaktorka Z latica Magalova.
Zodpovcdn y redaktorVIastimjJ Zabloudil.
Vytlacili Tlaciarne SNP, n. p., Martin.
Naklad 2000 vy tlackov. A H 10,30. VH 10,64. VHS 4,56.
VHI 6,08. TS 09.20
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