DOI Page / Citation link:
https://doi.org/10.11588/diglit.41588#0052
The sphere attracting the attention os avant-gardes was stage design. The connection between
artistic and dramatic persormance and the possibility os applying architectural or painting
experiments in the living space os the stage seemed unusually attractive to artists as well as directors.
Rossmann, Fulla, Galanda and also Maly co-operated with the theatre. In 1931 Fulla supervised the
stage design by his students ’’Factory os Youth” for Tolstoi’s at the Slovak National Theatre. He was
saced with a. paradoxical situation: Jan Borodäc, the director who had invited him, was so
conservative that he did not make any demands; the painter could theresore only conceive the stage in
two dimensions as a coloursul pictorial surface on a dark background.
The stage designs sor Wilde’s ’’Lady Windermere’s Fan”, Ostrovski’s ’’Storm”, or Afinogenov’s
’’Fear” seem to be os dramatised post-Constructivist pictures. ’’The stage was an ideal milieu sor
visual utilization os colour and light essects allowing elementary sorms to be distilled to a minimu”,
wrote Fulla in his memoirs’." In Goldoni’s and Hosfmeister’s ’’Singing Venice” (1932) directed by
Viktor Sulc, the third dimension was important and the stage design by Fulla approached the
architectural models of El Lissitzky studio at WCHUTEMAS. The anti-illusive stage experiment os
Fulla prepared the soil sor the later inventive scenographic work os another prosessor os SAA,
FrantiSek Tröster.
The Bratislava avant-garde was not able to withstand international consrontation. By the
beginning os thirties, in the period os crisis and coming down to earth os avant-garde, it was too late.
The only international personal contacts on the school precincts remained. Czechoslovakia as the last
Central European ’’island os democracy” gave the possibility os dreaming os an international centre
in Bratislava housing all progressive artistic movements. The satal year 1938 meant the end os dreams
and the end os the school. And then the documents began to disappear*.
50
artistic and dramatic persormance and the possibility os applying architectural or painting
experiments in the living space os the stage seemed unusually attractive to artists as well as directors.
Rossmann, Fulla, Galanda and also Maly co-operated with the theatre. In 1931 Fulla supervised the
stage design by his students ’’Factory os Youth” for Tolstoi’s at the Slovak National Theatre. He was
saced with a. paradoxical situation: Jan Borodäc, the director who had invited him, was so
conservative that he did not make any demands; the painter could theresore only conceive the stage in
two dimensions as a coloursul pictorial surface on a dark background.
The stage designs sor Wilde’s ’’Lady Windermere’s Fan”, Ostrovski’s ’’Storm”, or Afinogenov’s
’’Fear” seem to be os dramatised post-Constructivist pictures. ’’The stage was an ideal milieu sor
visual utilization os colour and light essects allowing elementary sorms to be distilled to a minimu”,
wrote Fulla in his memoirs’." In Goldoni’s and Hosfmeister’s ’’Singing Venice” (1932) directed by
Viktor Sulc, the third dimension was important and the stage design by Fulla approached the
architectural models of El Lissitzky studio at WCHUTEMAS. The anti-illusive stage experiment os
Fulla prepared the soil sor the later inventive scenographic work os another prosessor os SAA,
FrantiSek Tröster.
The Bratislava avant-garde was not able to withstand international consrontation. By the
beginning os thirties, in the period os crisis and coming down to earth os avant-garde, it was too late.
The only international personal contacts on the school precincts remained. Czechoslovakia as the last
Central European ’’island os democracy” gave the possibility os dreaming os an international centre
in Bratislava housing all progressive artistic movements. The satal year 1938 meant the end os dreams
and the end os the school. And then the documents began to disappear*.
50