Hostname: page-component-84b7d79bbc-2l2gl Total loading time: 0 Render date: 2024-08-04T15:27:18.502Z Has data issue: false hasContentIssue false

Uncertain Slovakia: Blaho Uhlár, Stoka and Vres

Published online by Cambridge University Press:  24 September 2009

Extract

In the renegotiations of borders and cultures currently underway in former Soviet Europe, the situation in Slovakia stands out as one in which uncertainty itself is perhaps the primary obstacle to renewal and growth. The Slovaks were occupied by Hungarian forces for a millennium, emerging as a modern nation first under the shadow of the Czechs in the first republic, then clouded by a Nazi-style clerico-fascist state which discredited the moral impulses of much Slovak nationalism, and finally dominated by a colonial Comecon culture in which the interests of an integral, cohesive Slovak state were always compromised by its role in a larger international Soviet politics. By virtue of the remarkable Velvet Revolution, the Slovaks have been able to claim unique nationhood for the first time since the Great Moravian Empire in the 9th century. Yet the thousand years between has created a culture which lacks the foundations for the kind of quick, assured policy-making that will succeed financially, and in the international culture market, for the new countries of Europe. Separated from the Czechs, the Slovaks now face a slower pace of industrial conversion, slower ecological recovery, a fading currency, and the legacy of a violent nationalism—personified in Meciar's leadership—that has not made the transition from government by executive fiat to reasoned debate and majority politics.

Type
Special Section: Prague School Semiotics
Copyright
Copyright © American Society for Theatre Research 1995

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Bakošová-Hlavenková, Zuzana. Čas Činohry. Bratislava: Ústav umeleckej kritiky and divadelnej dokumentácie, 1990.Google Scholar
Cook, Joe. “Blaho Uhlár and the Slovak Theatre of Crisis,” New Theatre Quarterly, VIII, 30 (05 1992): 178–86.CrossRefGoogle Scholar
Deleuze, Gilles and Guattari, Felix. Kafka: Toward a Minor Literature. Trans. Polan, Dana. Minneapolis: University of Minnesota Press, 1986.Google Scholar
“Ideologický rozbor časopisu Slovenské divadlo z roku 1978,” Slovenské Divadlo, 39, 2 (1991): 169–92.Google Scholar
Michalovič, Peter et al. , eds. Československý strukturalismus a Viedenský scientizmus. Bratislava: Stimul, 1992.Google Scholar
Mistrík, Miloš. “Uhlar's Non-Conformist Productions,” Theatre: Czech and Slovak. 1, 1991: 3840.Google Scholar
Mistrík, Miloš. “De la desillusion vers un avenir sans projects?Theatre/Public, 106 (0708 1992): 7982.Google Scholar
Mukařovský, Jan. “On the Current State of Czech Theater,” see this issue.Google Scholar
Quinn, Michael L. “Satellite Drama: Imperialism, Slovakia and the Case of Peter Karvaš,” in Drama and Imperialism, ed. Ellen Gainor. London: Routledge, forthcoming.Google Scholar
Sallis, John. Spacings—of Reason and Imagination, in Texts of Kant, Fichte and Hegel. Chicago: Chicago University Press, 1987.Google Scholar
Sliuková, Dana, untitled commentary on Heartburn. Theatre: Czech and Slovak, 1, 1991, 40.Google Scholar
Slovak Drama. Bratislava: Národné Divadelné Centrum, n.d. (1989?)Google Scholar
Števček, Pavol et al. , Blaho Uhlár. Ústav umeleckej ktritiky a divadelnej dokumentácie, 1990.Google Scholar
Stoka, . Publicity brochure, 1993.Google Scholar