Divadelní revue (Czech Theatre Review) 2014 · no 1
vol. 24 · May 2014 · no 1Summary
The first issue of 2014’s Theatre Review focuses on the complex relationship of theatre and power. Adolf Scherl’s “On the Beginnings of Theatre Censorship in Bohemia” provides a detailed analysis of the development of censorship in Bohemia between the years 1772– 1842. Scherl examines the changing nature of censorship during this period, in which compulsory preliminary censorship was initiated (reign of empress Maria Therese), and which was characteristic by promoting an Enlightenment concept of theatre as an educational institution. Although the first years of the reign of Joseph II brought about a certain liberalization of the censorship practice, enabling an occasional production of plays pointing out to the problems of the existing social order, this development was consequently stopped by growing concerns about the influence of the French revolution and by the emperor’s death. Jitka Ludvová’s “ ‘With an Averted Gaze the Genius of Art Shall Flee.‘ The Estates Theatre in Prague in the Year 1827” discusses the 36-page manuscript providing a detailed report on the economic situation, operational principles and the artistic status of the Estates Theatre in the year 1827. The report, written for the estates committee for the supervision of theatres (Theateraufsichtskommission), notes the decline in the artistic quality of the theatre caused by staging an excessive number of popular plays, which led to a critical worsening of the economic situation, since the unsuitable repertoire drove away more educated audiences who would buy tickets for the more expensive seats. The report argues that reform must start with sustained funding, which will facilitate an improvement of the quality of the performances. Milan Pospíšil looks at the troubled position of Meyerbeer’s opera Huguenots, which was subjected to severe censorship in Austria in the 19th century with the only exception represented by the revolutionary years, during which the opera was performed in an uncensored version, maintaining the original subject matter. Pavel Nývlt discusses the relationship between theatre and courts in Athens. It analyses the similarities of and differences between court juries and the audience in the Athenian theatre, examines the common aspects of performances of Athenian actors and courtroom orators, and provides quotations from dramas at courts and theatre scenes inspired by judicial practice. It provides a detailed analysis of selected scenes from Aischylos’s Eumenides and Aristophanes’ Wasps and draws parallels between theatre and court on the level of language and thought. Historically-oriented papers completes Eduard Burget’s essay on František Zavřel’s play Boleslav the Cruel which was written between the years 1918–1919 and premiered in February 1920 by the National theatre in Brno. By means of dramatizing the event of the murder of Prince Václav (Wenceslas) by his brother Boleslav in 935 the author commented upon the current political issues of the young Czechoslovak republic. The article further discusses the reception of Zavřel’s play and compares the different treatments of the Saint Wenceslas topic by Josef Kajetán Tyl, Jaroslav Vrchlický and František Langer. It also comments on the play Boleslav I. written by the communist playwright and journalist Milan Jariš. Mateusz Borowski’s “The Strategies of Engaging the Audience and The Heritage of Lehrstück in the 20th and 21st Century” attempts to trace the concept of participation and register its recent changes in the field of performing arts. The aim of the essay is to demonstrate that by the turn of the 21st century participatory art has departed very far from its origins in the performance art and happening of the 1970s. Taking cues from such theorists of participation as Claire Bishop and Jacques Ranciere, the author analyses the strategies of eliciting the audience’s response in such artistic forms which do not entail direct physical contact between the artist and the viewers/recipients and do not inspire audiences to acts of social transgression. The “theatre and power” section complete two essays by Nina Vangeli and Jana Pilátová. While Vangeli focuses on the relationship between dance and power, Pilátová discusses in her review-essay Dariusz Kosiński’s recent book Teatra polskie. The issue contains an interview with the Czech translator, essayist and writer Vladimír Mikeše called “On Family Roots and Rythm of Language”, as well as three reviews of recently published books.
editorial
theatre and power
Adolf ScherlOn the Beginnings of Theatre Censorship in Bohemia [article]
Jitka Ludvová
“With an Averted Gaze the Genius of Art Shall Flee.” The Estates Theatre in Prague in the Year 1827 [article]
Milan Pospíšil
Meyerbeer‘s Huguenots (Les Huguenots) in Prague and the Austrian Censorship [article]
Pavel Nývlt
Athenian Courts and Theatre [article]
Eduard Burget
The Cruelty of Prince Boleslav. František Zavřel’s Play About the Emergence of Czech Statehood [article]
Mateusz Borowski
The Strategies of Engaging the Audience and The Heritage of Lehrstück in the 20th and 21st Century [article]
Nina Vangeli
Dance and Power – Dialectics of Concrete Dance [essay]
Jana Pilátová
Theatre Studies for Theatre Studies: On Two Books by Dariusz Kosiński [essay]
interview
On Family Roots and Rythm of Language. Interview with the translator, essayist and writer Vladimír Mikeš (Michal Čunderle)reviews
Eva StehlíkováMiloš Hlávka Comes Back (Vladimír Just: Miloš Hlávka – Světák nebo Kavalír Páně? Známé i neznámé hry, přebásnění a texty o divadle.) [review]
Jan Vedral
Just's Dramaturgical Archeology (Vladimír Just: Miloš Hlávka – Světák nebo Kavalír Páně? Známé i neznámé hry, přebásnění a texty o divadle.) [review]
Vladimír Just
The book happened to be compiled (Jitka Rauchová: Spoutané divadlo. Jindřich Honzl, Jiří Frejka a Emil František Burian v systému kulturní politiky [1945–1959].) [review]
Olga Lomová
New Monograph about Japanese Theatre (Ivan Rumánek: Japonská dráma nó – žáner vo vývoji.) [review]
Resumes of peer-reviewed articles
Adolf ScherlOn the Beginnings of Theatre Censorship in Bohemia.
The article provides a detailed analysis of the development of censorship in Bohemia between the years 1772– 1848. After the reign of the empress Maria Theresa, during which compulsory preliminary censorship was initiated in 1772, and which was characteristic by promoting an Enlightenment concept of theatre as an educational institution while maintaining the untouchable status of the Catholic church and the principles of the feudal system, the first years of the reign of Joseph II. brought about a certain liberalization of the censorship practice, enabling an occasional production of plays pointing out to the problems of the existing social order. This development was consequently stopped by growing concerns about the influence of the French revolution and by the emperor’s death. The coronation of Francis II. brought about years of harsh censorship practice, seriously affecting the artistic quality of theatre and eliminating the possibility of staging contemporary plays. Censorship practice, under police supervision, was performed in this manner until its abolition in the revolutionary year 1848.
Jitka Ludvová
“With an Averted Gaze the Genius of Art Shall Flee.” The Estates Theatre in Prague in the Year 1827.
The article discusses the 36-page manuscript providing a detailed report on the economic situation, operational principles and the artistic status of the Estates Theatre in the year 1827. The original is located in the registry of the supreme burgrave in the National archive. The report, written for the estates committee for the supervision of theatres (Theateraufsichtskommission), notes the decline in the artistic quality of the theatre caused by staging an excessive number of popular plays, which led to a critical worsening of the economic situation, since the unsuitable repertoire drove away more educated audiences who would buy tickets for the more expensive seats. The report argues that reform must start with sustained funding, which will facilitate an improvement of the quality of the performances. The report suggests appealing to the wealthier parts of the potential audiences to purchase subscriptions for more expensive seats, which will generate financial means for the improvement of the quality of the repertoire.
Milan Pospíšil
Meyerbeer's Huguenots (Les Huguenots) in Prague and the Austrian Censorship.
Under Metternich’s absolutist regime in Austria the staging of Meyerbeer’s Les Huguenots was subjected to severe censorship. In Prague the Estates theatre staged the German-language Viennese version of the opera by Georg Otto under the title Die Ghibellinen in Pisa from the year 1840. The adaptation removed all the parts of the text which the censorship considered dangerous for the authorities, church and public morality. During the revolutionary years 1848–1849 and the temporary lifting of censorship the opera was performed in an uncensored version, maintaining the original subject matter. During Bach’s neoabsolutist regime and the renewal of censorship in Austria from 1850 the opera could be staged under its original title, but under the condition of downplaying the central theme of religious conflict. For example, the scene of Conspiracy and Consecration of Daggers (Conjuration et bénédiction des poignards) had to be performed without the figures of the monks, and some passages had to be removed or altered.
Pavel Nývlt
Athenian Courts and Theatre.
The article discusses the relationship between theatre and courts in Athens. It analyses the similarities of and differences between court juries and the audience in the Athenian theatre, examines the common aspects of performances of Athenian actors and courtroom orators, and provides quotations from dramas at courts and theatre scenes inspired by judicial practice. It provides a detailed analysis of selected scenes from Aischylos’s Eumenides and Aristophanes’ Wasps and draws parallels between theatre and court on the level of language and thought.
Eduard Burget
The Cruelty of Prince Boleslav. František Zavřel’s Play About the Emergence of Czech Statehood.
The article discusses the play Boleslav the Cruel by František Zavřel (1884– 1947), which was written between the years 1918–1919 and premiered in February 1920 by the National theatre in Brno. By means of dramatizing the event of the murder of Prince Václav (Wenceslas) by his brother Boleslav in 935 the author commented upon the current political issues of the young Czechoslovak republic. The play reflects upon some timeless ideas, primarily the Übermensch concept formulated by Friedrich Nietzsche, personified in the play by Prince Boleslav, adversary of the Christian ruler and bearer of life-giving strength and will to power. The article further discusses the reception of Zavřel’s play and compares the different treatments of the Saint Wenceslas topic by Josef Kajetán Tyl, Jaroslav Vrchlický and František Langer. It also comments on the play Boleslav I. written by the communist playwright and journalist Milan Jariš.
Mateusz Borowski
The Strategies of Engaging the Audience and The Heritage of Lehrstück in the 20th and 21st Century.
Starting with an analysis of Marina Abramović’s latest projects (Seven Easy Pieces, 2005; The Artist is Present, 2010) and the renowned documentary about the artist by Matthew Akers and Jeff Dupre, the essay is an attempt to trace the concept of participation and register its recent changes in the field of performing arts. The aim of the essay is to demonstrate that by the turn of the 21st century participatory art has departed very far from its origins in the performance art and happening of the 1970s. Taking cues from such theorists of participation as Claire Bishop and Jacques Rancière, the author analyses the strategies of eliciting the audience’s response in such artistic forms which do not entail direct physical contact between the artist and the viewers/recipients and do not inspire audiences to acts of social transgression. The author of the essay derives the current strand of self-reflexive participatory art from the tradition of Lehrstück, learning plays devised by Bertolt Brecht in the 1930s as the theatre of the future for amateur theatre groups in which the division between passive observers and actors was subverted in favour of a collective and participatory experience, although it did not do away with dramatic fiction. Using the example of the theatre performance Zeugen! (2004) by the German theatre collective Rimini Protokoll, the author demonstrates how participation is not only expected by the audience, but also becomes the topic of a performance which thematizes the constraints and rules of participation in social life.