Divadelní revue (Czech Theatre Review) vol. 31 · 2020 · no 1


Summary

The first issue of 2020s Theatre Review contains two essays that focus on the German- Czech and Slovak theatre history. In her treatise “Unknown Sources for the History of Estates Theatre. A Perspective from the Lobkowicz Family Archive in Mělník” Jitka Ludvová examines unkown documents from the family archive of Anton Isidor Lobowicz (1773–1819), the Prince of Mělník, who chaired the Estates Theatre Supervisory Commission under the national committee between 1816–1819 (Ständische Theaterausfsichtskommission). The protocols from the commission's meetings illustrate the search for a new theater director after the death of C. J. Liebich (December 21, 1816) and provide the information about the current state of the theater building and its facilities, as well as about the circumstances of Ferdinand Polawski’s appointment as an interim director in February 1819. The essay accompany authentic archival documents and their transcription. 19 th century Estates Theatre is a topic of two shorter contributions in the form of encyclopaedic entries by Martin Hanoušek and Pavla Benettová. Hanoušek introduces three performers (actors and singers) – Ferdinand Eßlair, Sophie Schröderová, and Hermann Breiting – and their guest performances in Prague. Benettová focuses on the virtually unknown work of the theatre architect and stage designer Vincenc Fischer Birnbaum. Karol Mišovic's essay “ ‘The first' Slovak Actress. The Development of Oľga Borodáčová Országhová's Acting Style in the Context of 1950s and 1960s Repertoire” introduces one of the most important Slovakian theatre actresses of the first half of the 20 th century Oľga Borodáčová Országhová (1899–1986). Borodáčová Országhová performed at the Slovak National Theater until 1978, but her extraordinary post-war career hasn't been reflected and evaluated by theatre scholars yet. As a wife of Slovakian theatre director Janek Borodáč (1892– 1964), her work was often perceived through the prism of his directing style and – in a sense – limits of Stanislavski method he promoted throughout his active career. Consequently, Borodáčová Országhová was considered a successful realistic actress who was predominantly active in the 1920s and 1940s. However, the research reveals that this perspective on her work as “her husband's actress” is misleading. Borodáčová Országhová was in the shadow of her colleague, the generational peer Hana Meličková, but she was also able to respond to the changing theatre style. The proof provides her stage performances in the last two decades of her active work, discussed in this analysis. The first part of the paper presents a concise artistic profile of the actress from her beginnings to the advent of socialist realism (1950s). In the second part, the study analyzes Borodáčová Országhová's most characteristic performances in the years 1955–1967, which demonstrated her clear inclination towards modern expression that fully corresponded with the generational approach of the emerging group of young creators. Slovakian theatre is a topic of Miroslav Dacho's interview with Vladimír Štefko, Slovakian theatre reviewer and historian. The issue includes Jan Šotkovský's longer review of recently published anthology of texts, published in the journal Scéna during 1980s, i.e. in the last phase of Communist totality.

essays & documents

Jitka Ludvová
Unknown Sources for the History of Estates Theatre. A Perspective from the Lobkowicz Family Archive in Mělník [peer-reviewed article]

Martin Hanoušek
They were in Prague. Ferdinand Eßlair – Sophie Schröderová – Hermann Breiting [essay]

Pavla Benettová
Vincenc Fischer Birnbaum (Un)Known Theatre Architect and Stage Designer [document]

Karol Mišovic
"The first" Slovak Actress. The Development of Oľga Borodáčová Országhová’s Acting Style in the Context of 1950s and 1960s Repertoire [peer-reviewed article]

interview

There is no time for patience and thinking. Interview with the theatre reviewer and historian Vladimír Štefko [interview]

review

Jan Šotkovský
Best of grey-zone pot? (Scéna 1980–1989) [review]

new book relases

(January–May 2020)

Jitka Ludvová
Unknown Sources for the History of Estates Theatre. A Perspective from the Lobkowicz Family Archive in Mělník [peer-reviewed article]
The essay examines unkown documents from the family archive of Anton Isidor Lobowicz (1773–1819), the Prince of Mělník, who chaired the Estates Theatre Supervisory Commission under the national committee between 1816– 1819 (Ständische Theaterausfsichtskommission). The protocols from the commission's meetings illustrate the search for a new theater director after the death of C. J. Liebich (December 21, 1816) and provide the information about the current state of the theater building and its facilities, as well as about the circumstances of Ferdinand Polawski's appointment as an interim director in February 1819.
Contact: Jitka Ludvová | Kabinet pro studium českého divadla, Institut umění – Divadelní ústav | jitka.ludvova(at)idu.cz

Karol Mišovic
Oľga Borodáčová Országhová (1899–1986) is one of the most important Slovakian theatre actresses of the first half of the 20 th century. She performed at the Slovak National Theater until 1978, but her extraordinary post-war career hasn't been reflected and evaluated by theatre scholars yet. As a wife of Slovakian theatre director Janek Borodáč (1892–1964), her work was often perceived through the prism of his directing style and – in a sense – limits of Stanislavski method he promoted throughout his active career. Consequently, Borodáčová Országhová was considered a successful realistic actress who was predominantly active in the 1920s and 1940s. However, the research reveals that this perspective on her work as “her husband's actress” is misleading. Borodáčová Országhová was in the shadow of her colleague, the generational peer Hana Meličková, but she was also able to respond to the changing theatre style. The proof provides her stage performances in the last two decades of her active work, discussed in this analysis. The first part of the paper presents a concise artistic profile of the actress from her beginnings to the advent of socialist realism (1950s). In the second part, the study analyzes Borodáčová Országhová's most characteristic performances in the years 1955–1967, which demonstrated her clear inclination towards modern expression that fully corresponded with the generational approach of the emerging group of young creators.
Contact: Karol Mišovic | Ústav divadelní a filmové vědy CVU SAV | karol.misovic(at)gmail.com