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3 Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

3 Stehlíková E.

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Do postele s Kressidou

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Stehlíková E.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

2017

tom 20

nr 1

73-87

A side note on Malina’s stage setting for Rajmont’s Troilus and Cressida production (Činoherní studio – Drama Studio, 1979). Its success was based on a radical modification of the text through which Alex Koenigsmark crossed the confines of a mere adaptation and significantly contributed to the shaping of the production. Joining Teiresias and Pandar into one character, namely that of Kibitzer, suppressing the ancient origins of the play, move it into an absolute timelessness. Rajmont’s directing of this „grotesque about militant rubbish“, as the scenographer, labelled the production, did not only relate straightforwardly to current reality and to demythologization of all values but it accomplished to get at a more general message.

Studie o Malinově scénografii pro inscenaci Troila a Kressidy v Rajmontově režii v Činoherním studiu v Ústí nad Labem 1979. Úspěch inscenace byl dán radikální úpravou textu, směřující k adaptaci, kterou Alex Koenigsmark přispěl k vyznění inscenace. Spojení Teiresia a Pandara do jedné postavy Kibice a potlačení antického plánu hry vyústilo do absolutního bezčasí. Rajmontova režie spolu s Malinovou scénografií pak dodala této „grotesce o militantní blbosti“ všeobecnou platnost.

Strukturalistická stopa Olgy Srbové

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Stehlíková E.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

2016

tom 19

nr 1

181-200

The name of Olga Srbová (16. 7. 1914–14. 4. 1987) has almost fallen into oblivion, as she stopped to use her maiden surname after she entered into marriage with actor Jaromír Spal, being known as Olga Spalová since then. Therefore, she is mostly known for her later, post-war engagement in radio; but the first stop in her career, and her life’s love, was theatre. Olga Srbová started her university studies in 1933, receiving Ph.D. degree from Czech and French Language and Literature at the Faculty of Arts, Charles University in 1937 (dissertation: “The Characteristics of the new Czech historical novel”). Among her teachers were, according to her student’s record book, J. Mukařovský, A. Pražák, F. X. Šalda, M. Weingart, V. Tille and others. Firstly, she thought of devoting herself to theatre theory; while only a few theoretical studies can be found in the scope of her works, they nevertheless testify that Srbová mastered the methods of her teachers with skill and understanding: “The Character in New Drama” (Word and Verbal Art 3 (1937): 4: 221–226) contributes to the changes of the concept of a character in the contemporary theatre; in the “Authorial Stage Directions” (Life 15 (1937): 3–4: 98) she explores the influence of the contemporary stage practice on the nature of stage directions. As many others of her generation she admired the new media – film and radio; to the latter she devoted a booklet Radio and Verbal Art (Praha: Vyšehrad, 1941), even now valued as one of the most important works of the time. Until 1946 she wrote mostly theatre reviews, having started publishing in the renowned Students’ Journal in 1927. There she published her first poems and short stories, and in a short time (from 1930 on) also essays on theatre and theatre reviews. She published in other periodicals too (in more than 30 between 1931 and 1976), the height of her career as a critic being the cooperation with the daily newspaper Práce (after 1945). Being well versed in the whole of the contemporary theatre, both Czech and European one, she could comment with equal expertise on drama, stage speech, verse speaking, character building, direction, set design, actors training, and theatre theory. However, the most interested she was in actors’ work; the indisputable top of her attempts at portraying actor is the Theatre or the Book of Dreams (Praha: Odeon, 1975), the story of the actor’s career of Eduard Kohout.

Oidipus redivivus. Teatro Olimpico 1585

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Stehlíková E.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

2017

tom 20

nr 2

59-68

The first modern production of classical Greek tragedy was put on in Vicenza in 1585 in a then newly opened theatre, today known as Teatro Olimpico. The author of the building plan was Andrea Palladio, renowned architect who died before the construction of the theatre was finished. It was completed by Vicenzo Scamozzi, another famous Italian architect, who enhanced the stage by an illusionary decorative background. The completed theatre building, the architectonic plan of which was inspired by Vitruvius’ Ten Books on Architecture, is a combination of classical Roman and Renaissance architectonic principles, representing an ideal image of Antiquity created by Palladio and Scamozzi’s fellows – a contemporary utopia projected into the past. The play chosen for the opening of the house, Sophocles’ Oedipus the King, underlined the prestige of the institution, as well as of the whole city and its Academia. What can be learnt about the production from various contemporary resources is a subject of the present paper.

První zaznamenaná inscenace řecké tragédie v nové době se konala ve Vicenze v r. 1585, a to v nově otevřeném divadle (dnes známém jako Teatro Olimpico). Autorem stavby byl známý architekt Andrea Palladio, po jehož smrti ji dokončil Vicenzo Scamozzi, který Palladiův návrh obohatil o iluzivní dekoraci. Divadlo inspirované Vitruviovým spisem Deset knih o architektuře je jistou kombinací římských a renesančních architektonických principů, z nichž je utkán ideální obraz návratu k antice, této utopie promítnuté do minulosti. Titul zvolený ke slavnostnímu otevření divadla byl vybrán tak, aby podpořil prestiž divadla i Vicenzy a její Accademie.