Divadelní revue (Czech Theatre Review) vol. 31 · 2020 · no 2
Summary
The second issue of 2020's Czech Theatre Review presents four essays that focus on the history of theatre in the Czech Lands from the late 17th century up until 1920s. In her study “Count Leopold II. Lažanský as a Professional Theatre Actor (on the issue of German-speaking provincial theatre of the second half of the 19th century)”, Berenika Zemanová focuses on the theatrical work of Count Leopold II. Lažanský, who in 1875–1886 tried to establish himself as an actor in the provincial theatres of Austria-Hungary. It also deals with the relationship of the nobility to theatre and tries to name why Lažanský's decision to devote himself professionally to theatre was unusual. It does not omit the contemporary historical context, analyzes the legal, economic and social conditions of theater, and also describes the theatrical operation and everyday life. Otto Drexler in his article “Theatre Director František Adolf Šubert: Visionary or Reactionary?” looks at the first two decades of the Prague National Theatre. From 1883 until June 1900, it was headed by František Adolf Šubert (1849–1915). For Drexler, the position of National Theatre's director offers a specific view on the dynamic social and cultural development of Czech society through the director's work. The aim of the study is not an authoritative clarification of the causality of contemporary events, but a dialogue with the problematic reception of F. A. Šubert's director's career and the articulation of new questions. Věra Velemanová's “Xeniya Boguslavska's Set Design for K. H. Hilar's Production of J. Słowacki's Balladyna – Pitfalls of Avant-Garde Scenography?” examines the 1923 production of Julius Słowacki's play, directed by Karel Hugo Hilar. The director invited Xeniya Boguslavska, a representative of the Russian avant-garde, to collaborate on the scenography, who already worked on 60 stage and costume designs in Cubo-futurist and Cubo-expressionist style. The designs were deposited in Hilar and his wife Zdenka Baldová's inheritance at the National Museum. Velemanová addresses and analyzes the circumstances and the production itself with the particular focus on the unique scenography. The essay examines critical reflections of the production and intends to identify the reasons that led to the early withdrawal of the production from the repertoire. Miroslav Lukáš and Christian Neuhuber's joint study “Waterplay and Fireworks. Emperor Leopold I's Stay in Nikolsburg in 1691” discusses the celebration of the 51st birthday of Emperor Leopold I, held on June 9, 1691 in Mikulov, South Moravia at the residence of the highest imperial court master Ferdinand Dietrichstein. As part of this probably the most important social event of Mikulov of the second half of the 17th century, a chamber allegorical opera Gli augurii veracemente interpretati by Antonio Draghi was organized on the so-called Silent Island (Portz-Insel). The choice of the island to carry out the festive serenade was certainly given by the very representativeness of the island, with its entire architectural or natural scenery. The water-level itself also played a significant role, as the spectators watched performance from gondolas floating on the pond. The study also presents a hitherto unpublished sketch and a description of the ceremonial fireworks designed by the chief imperial fireworker Franz Leopold Brabant, which ended the whole ceremony to celebrate Emperor’s majesty. In this issue we publish a lecture by Oliver Taplin “Why was the Mask Essential to Greek Tragedy?“ in which he suggests his original perspective on the use of mask in Greek tragedy. For Taplin, mask is a vehicle or function enabling and permitting the impersonation, which, consequently, made tragedy a performative entity possible: “The mask was in origin internal to the theatre; it was artistic and practical, invented in order to make tragedy possible.” The paper accompanies an interview with Oliver Taplin, the professor emeritus of Oxford University, scholar, translator and educator. The presented issue contains one review of recently published book written by Slovak scholar Dagmar Inštitorisová, and Karolina Stehlíková's report on the theatre symposium which took place in Mikulov (August 2020).
essays & documents
Berenika ZemanováCount Leopold II. Lažanský as a Professional Theatre Actor (on the issue of German-speaking provincial theatre of the second half of the 19th century) [peer-reviewed article]
Otto Drexler
Theatre Director František Adolf Šubert. Visionary or Reactionary? [peer-reviewed article]
Věra Velemanová
Xeniya Boguslavska's Set Design for K. H. Hilar's Production of J. Słowacki's Balladyna – Pitfalls of Avant-Garde Scenography? [peer-reviewed article]
Miroslav Lukáš & Christian Neuhuber
Waterplay and Fireworks. Emperor Leopold I's Stay in Nikolsburg in 1691 [peer-reviewed article]
Oliver Taplin
Why was the Mask Essential to Greek Tragedy? [essay]
interview
with the pedagogue of Oxford University, translator and expert on the Ancient Greek theatre Oliver Taplin Mystery of Coexistence of Similarity and Difference (Alena Sarkissian a Martin Pšenička)review
Anna ZelenkováThe Portrayal of M. R. Štefánik in Theatre and Film (Dagmar Inštitorisová. Milan Rastislav Štefánik v dramatickej tvorbe na Slovensku a v Čechách)
reposrt
Karolína StehlíkováFirst Summer Theatre Symposium, or else. Pondering the Advantages of Personal Encounters (Summer Theatre Symposium, August 1, 2020, Mikulov)new book relases
(June–September 2020)Berenika Zemanová
Count Leopold II. Lažanský as a Professional Theatre Actor (on the issue of German-speaking provincial theatre of the second half of the 19th century) [peer-reviewed article]
The study primarily focuses on the theatrical work of Count Leopold II. Lažanský, who in 1875–1886 tried to establish himself as an actor in the provincial theatres of Austria-Hungary. He also deals with the relationship of the nobility to theatre and tries to name why Lažanský's decision to devote himself professionally to theatre was unusual. It does not omit the contemporary historical context, analyzes the legal, economic and social conditions of theater, and also describes the theatrical operation and everyday life.
Contact: Berenika Zemanová | Kabinet pro studium českého divadla, Institut umění – Divadelní ústav | berenika.zemanova(at)idu.cz
Otto Drexler
Theatre Director František Adolf Šubert. Visionary or Reactionary? [peer-reviewed article]
The construction of the National Theater was a revival project that was to legitimize and then represent the Czech emancipation movement with dignity. Operational-technical, economic, but also artistic issues often formed the background of passionate political conflicts and media controversies. From the reopening of the theatre in November 1883 until June 1900, it was headed by journalist, playwright, writer and cultural manager František Adolf Šubert (1849–1915). The personnel stability of the position, on which extraordinary attention and expectations were focused, makes it possible to view the dynamic social and cultural development of Czech society through the director's work. The aim of the study is not an authoritative clarification of the causality of contemporary events, but a dialogue with the problematic reception of F. A. Šubert's director's career and the articulation of new questions. The title of essay polemically refers to schematic dichotomous thinking.
Contact: Otto Drexler | Kabinet pro studium českého divadla, Institut umění – Divadelní ústav | otto.drexler(at)idu.cz
Věra Velemanová
Xeniya Boguslavska's Set Design for K. H. Hilar's Production of J. Słowacki's Balladyna – Pitfalls of Avant-Garde Scenography? [peer-reviewed article]
In April 1923, the production of a play by Julius Słowacki's Balladyna, directed by Karel Hugo Hilar, premiered. The director invited Xeniya Boguslavska, a representative of the Russian avant-garde, to collaborate on the scenography, who already worked on 60 stage and costume designs in Cubo-futurist and Cubo-expressionist style. The designs were deposited in Hilar and his wife Zdenka Baldová’s inheritance at the National Museum. The study seeks to address and analyze the circumstances and the production itself with the particular focus on the unique scenography. The essay examines critical reflections of the production and intends to identify the reasons that led to the early withdrawal of the production from the repertoire.
Contact: Věra Velemanová | Kabinet pro studium českého divadla, Institut umění – Divadelní ústav | vera.velemanovu(at)idu.cz
Miroslav Lukáš & Christian Neuhuber
Waterplay and Fireworks. Emperor Leopold I's Stay in Nikolsburg in 1691 [peer-reviewed article]
The study discusses the celebration of the 51st birthday of Emperor Leopold I, held on June 9, 1691 in Mikulov, South Moravia at the residence of the highest imperial court master Ferdinand Dietrichstein. As part of this probably the most important social event of Mikulov of the second half of the 17th century, a chamber allegorical opera Gli augurii veracemente interpretati by Antonio Draghi was performed on the so-called Silent Island (Portz-Insel). The choice of the island to carry out the festive serenade here was certainly given by the very representativeness of the island, with its entire architectural and natural scenery. The water surface itself also played a significant role, as the spectators watched the performance from gondolas floating on the pond. The study also presents a hitherto unpublished sketch and a description of the ceremonial fireworks designed by the chief imperial fireworker Franz Leopold Brabant, which ended the whole ceremony to celebrate Emperor’s majesty.
Contact: Miroslav Lukáš | Kabinet pro studium českého divadla, Institut umění – Divadelní ústav | miroslav.lukas(at)idu.cz | Christian Neuhuber | Franz-Nabl-Institut für Literaturforschung, Universität Graz | christian.neuhuber(at)uni-graz.at