PODOBA A FUNKCIE SÚČASNEJ SLOVENSKEJ DIVADELNEJ DRAMATURGIE PO ROKU 2000: PREMOSŤOVANIE ROKOV DEVÄŤDESIATYCH

Since the 1990s Slovak theatre has been affected by several phenomena: the changing attitude of the public to theatrical art, who seems to be losing interest in this art form, the degradation of the systematic, conceptual, artistic and forming function of the dramaturge, and the loss of an in-house dramaturge or director who would be consistent in performing this function. Theatrical space has been filled with freelance artists wandering from theatre to theatre, offering attractive productions or adopting them on the impulse of theatre managements. We witness the strengthening of the powers of directors and art directors who often succumb to commercial and operational pressures, but also their personal tastes and convictions. Secondly, we witness the continuing trend of ‘directorial theatre.’ The individual theatres still prefer working on projects, and therefore, the repertory depends on the offer of guest directors, who bring their own dramaturges to the theatres, sometimes not being familiar with the wider context or lacking the ambition to work with the theatre company and the audience in the long term. We also witness a disruption in cooperation between a theatre’s dramaturge and translators, authors, visual artists and so on. Only few dramaturges have their own workshops that enable them to have a systematic and long-lasting cooperation, for example, with authors writing new plays or directors preparing new productions.