ÚvodUverejnenie prekladov dvoch štúdií Réžia wagnerovskej drámy a Ako zreformovať našu réžiu v časopise Slovenské divadlo 2 je súčasťou širšieho edičného projektu, ktorého zámerom je priblížiť slovenskému publiku dielo švajčiarskeho divadelného vizionára, scénografa a režiséra Adolpha Appiu

Adolphe Appia (1862-1928), a notable swiss theatre reformist, started his career as an admirer of Richard Wagner and his work, but was always critical of how his work was portrayed on the stage at the time. This is how he started his career as a reformist, and started creating sketches, stage designs and writings on how he perceived Wagner's work should be enacted in theatres. He was supported by another of Wagner's admirers, Houston Stewart Chamberlain, an Englishman, who was later on swayed by German chauvinism and later, Nazism. Fortunately, Appia, who started down the same way, paved another road altogether for himself, and reconceptualized the philosophy on synthetic theatre work and proposed reforms on direction and scenography. Later, he moved on from romanticism, worked together with Emile Jaques-Dalcroze and started to create abstract scenic designs, which he called rhythmic spaces. He also moved on from the nationalistic ideology of Wagner into the complete opposite pole, when he started to accent the cult of a healthy body and individual freedom. He became one of the pioneers of modern theatre directing, as we know it today.

In the text, which is a reflection on the Festival d'Avignon 2019, the author names new trends in dramaturgy, direction, and stage design.Among the most distinct themes in the focus of theatre makers were resistance to totalitarian regimes, the struggle for human freedom, or a very hot topic of a modern Odyssey of people banished from their homes.In addition to artistic issues, the text also reflects on the concerns associated with designing and funding theatre productions and on a gradual loss of acclaimed, widely recognised theatre personalities.

Today's theatrical art sometimes utilizes modern electronic technologies of visualisation that may be, especially if we use a certain amount of simplification, generally defined as "video". This kind of technology consists of a complex set of devices: shooting cameras, recording devices, trick equipment, broadcasting devices, screens. Theatrical mise en scenes once used to involve film; however, mostly before the emergence and refinement of digital video technologies. It is beyond any doubts that compared to film, video has many advantages - one of the most significant of these advantages is the fact that video technology allows to provide simultaneous online streaming of both image and sound. In case creators and producers of a theatrical mise en scene decide to use such a technology, they tend to favour it over the theatrical elements, which may lead to a shift from mimesis towards virtualisation of the performed spectacle. On the other hand, classic theatre, along with its long- term tradition and solid forms, is a strong, persistent sphere of art; even the video is rarely able to prevail and change the scenic reality into a virtual, abstract electronic world. We have decided to discuss these theoretical notions in relation to the theatrical mise en scene Fanny and Alexander by Ingmar Bergman, which was directed by Marian Amsler and performed at the Slovak National Theatre in 2016. Our analysis reflects on the forms of hybrid convergence merging theatrical art and video art in this particular case. However, as the conclusion suggests, video art and its technological possibilities may have influenced the mise en scene's overall setting, but the given theatrical work was able to preserve its own integrity without sacrificing any part of the true nature of theatre as such.

The first edition of Europe Theatre Prize took place in 1987. It is among the most reputable events in theatre at which prizes are awarded for a lifetime contribution to theatre. Prizes have been awarded to prominent theatre directors and actors, choreographers and dramatists. The prize is not awarded annually; up until 2016, there have been fifteen prize-giving ceremonies hosted by a number of European cities. Since 1990, in addition to the main prize, the Europe Prize New Theatrical Realities has been awarded to the younger generation (at the most recent 2016 edition, the word “new“ has been omitted). To date, the prize has been awarded thirteen times. The study presents a concise overview of the Europe theatre prize winners and the details of individual editions.

Regulatory authorities in the whole Europe are moving within the limits of administrative law, so they have to ask the question about the objective of their work and the functions fulfilled by the sanctions. We are analyzing the most important ones. One of the most important functions of media regulation is a prophylactic one. The second very important is if something appears in the broadcasting stream more or less only for a short period of time, but it does not mean that it cannot have devastating impact on civil, political and sexual ethics. That because they have the function to name this case. The naming function may be meaningful not only for the audience, but also for those preparing the program and it could lead to a prophylactic function. The naming function is also linked to the function to orientate the audience in the value system. The statements made by the regulatory authority may in this way reach the education. For media education it is in fact critical to get people oriented in the world of media, and to teach them to stay detached, not to damage their own and social values. Last but not least we often see people turning to the regulatory authority with their complaints that are not specified in any way, they do not show any interest in a response, they simply need to moan at the right place. Organizations, management, or political entities also use this ventilation function sometimes. So, the ventilation function acts as a safety valve. Nobody expects broadcasters to behave voluntarily and without exceptions in a way that no sanctions would need to be applied to their programs. It is expected that it would happen, but the broadcasters would select authorities from among themselves for the correction, which would supervise compliance with the jointly selected principles. It seems to be less reliable to create regulation from the "bottom". This system is really attractive, but it also has its own and not negligible risks. There would also be someone responsible for "discipline and punishment" from the "top". It is mainly for this reason that the regulation authorities are here.

Complaints about the Slovak Christian electronic media broadcasts (TV LUX and Radio LUMEN) demonstrate how some of their programs may evoke negative response and disapproval of a part of the public. They will also show which social groups mostly disagree with the Church's point of view. The case studies show how the Council for Broadcasting and Retransmission (CBR) handles these situations. The strongest negative response to some Christian media programs was noted in the area of lesbian, gay, bisexual, transsexual and intersexual (LGBTI) persons. The CBR considered the complaints to be justified because the Christian media presented only a one-sided opinion and did not allow for any opposing views. That was also confirmed in the case of a political journalistic broadcast featuring one-sided opinions of some Christian democratic politicians before the parliamentary elections. Christian media in Slovakia still want to lead their flock, show them the way, which seems to perpetuate the old approach based on dogmas. However, in the current world of media, transparent discussions and persuasive arguments appear to be much more convincing.

Considerações de Milos Mistrík sobre o papel do corpo no teatro de vanguarda tendo como estudo o trabalho do encenador polaco Milos Karásek