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The paper describes the effect of a new media (film) on the dramaturgy of Martinu's opera Three Wishes and thinks on the potential of film, which puts to use in the staging of Martinu's opera piece. The opera Three Wishes is not only a reaction to the artistic and dramaturgic potential of film, but also a reaction to the new artistic movements. The opera librettist, Georges Ribemont-Dessaignes, was a follower of dadaism and the libretto to this opera has also dadaistic dimension. Martinu and his librettist oppose conventional dramatics. This feature can be found also in his music. In his opera Three Wishes, Martinu refuses the romantic concept of emotionalism and the gradation of dynamism of the latter half of the 19th century. Each of the staging of Three Wishes captures the issue of opera film in a different way. Evald Schorm, director of the world premiere of this opera piece in Brno, in 1971 (forty-two years after the opera was composed), produced a film dimension of the opera along the lines of Chaplin's grotesque. The last staging of Three Wishes by the Czech director Jiri Nekvasil in Volkstheater Rostock, in 2007, was produced as a colourful theatre collage. The opera Three Wishes is a multilayer entertaining musical theatre. Its content is close to classical musical.
The authoress probes reactions on the first introductions of last the opera by Leos Janacek The Macropulos case in Brno and in Prague. By critics the main principle of dramaturgy of this opera was Janacek's specific method of motive work. If we talk about libretto, we can find critics, who were solving the problem of correlative relation between Capek's story and Jancek's adapted libretto. Critics compared Capek's comedy on one side and Janacek's classical opera on the other side. They also compared Capek's intellect and Janaceks intuition, passion and compassion. Impression of absence music, appreciate innovation, dramatic and dynamic in opera dominate in perception of this art work.
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