Divadelní revue (Czech Theatre Review) vol. 33 · 2022 · no 3


Summary

The third issue of 2022nd Theatre Review presents two historical analyses, which focus on the history of Czech theatre of the second half of the 20th century. Tomáš Bojda's essay examines the original Czech radio production of the 1960s. Its objective is to define dramaturgical and directorial tendencies of the radio drama production of that time. Subsequently, the author seeks to present the radio production of the 1960s as a complex creative space, which absorbed a number of important artistic and cultural impulses from other sectors that were further developed and specifically completed. The essay draws attention to a drastic change in the dramaturgical and directorial practice of the Czechoslovak Radio after 1958 and examines the specificity of the radio play of the 1960s, i.e. the differentiation of authorial and dramaturgical strategies. Analyzes of two productions by the director Jiří Horčička – It was on your account (1964) and The Collector (1966) – refer to the typical features of Czech radio playwriting and directorial practices of the time.
Věra Velemanová in her analysis continues in mapping the work of scenographer Jan Dušek. The essay discusses the beginnings of Jan Dušek's stage design practice. After completing his studies at DAMU in 1967 with his graduate project for the production Maria, Josef a zlodějíček (Mary, Joseph and Pilfer), Dušek began his long-term collaboration with the director Pavel Hradil. The essay draws attention to the first stage of their collaborarion, which took place between the years 1969–1972 at Petr Bezruč Theatre in Ostrava. Here they prepared productions such as Doctor Faust, The Tragical History of Hamlet, Prince of Denmark, The House of Dona Bernarda, and others. The essay intends to identify typical signs of Dušek's specific style, which already manifested itself in the first years of his work with vigorous and recognizable features, which were characteristic for his subsequent set designs and anticipated his most prolific collaboration with Evald Schorm at the Theatre on the Balustrade, Prague.
The issue also contains a translation of an essay by Cristina Grazioli, a professor at the Italian University degli studi di Padova, from 2020, about the grotesque features in the text of Alfred Jarry Silens. In the following block, we publish the papers by the members of the Research Team for the Modern Czech Theater of the Institute for Czech Literature, Academy of Sciences, which were presented at the panel discussion “Literary and Theater Studies – Borders, Intersections and ‘Disputed Territories’”, which took place as part of the VI. International Congress of Literary and Bohemian Studies (June 29, 2022). Barbara Topolová prepared the interview with the dramaturge, editor and theatre researcher Štěpán Otčenášek. Milan Strotzer reports on the state of research and documentation of the painted theatre curtains in the Czech lands.

analysis

Tomáš Bojda
Dramaturgical and Directorial Tendencies of Czech Radio Production of the 1960s. [peer-reviewed article]


Věra Velemanová
Collaboration between the Set Designer Jan Dušek and Pavel Hradil at Ostrava-based Petr Bezruč Theatre in 1969–1972. [peer-reviewed article]


essay

Cristina Grazioli
Thinking through the Speech of Monstrous Proportion: Alfred Jarry’s Silens and the Paradigm of Grotesque [essay]

congress of bohemian studies

Pavel Janoušek
Thinking about Literature and Thinking about Theatre: Same „Time“, Different Design? [essay]

Zuzana Augustová
Stage Notes, or the Supplementary Text of Drama  (on the example of Havel‘s Leaving) [essay]

Lenka Jungmannová
Where is the Borderline betwen Literary and Theatre Studies? [essay]

Aleš Merenus Theatre and/versus Literary Criticism [essay]

interview

We have to find someone and then we can retire. Interview with the dramaturge, editor and theatre scholar Štěpán Otčenášek (Barbara Topolová)

reports

Milan Strotzer
Report on the state of research and documentation of the painted theatre curtains in the Czech lands.

new book relases (November 2022)


content of 2022 Czech Theatre Review (33nd Vol.)

Tomáš Bojda
Tomáš Bojda: Dramaturgical and Directorial Tendencies of Czech Radio Production of the 1960s. The essay examines the original Czech radio production of the 1960s. Its objective is to define dramaturgical and directorial tendencies of the radio drama production of that time. Subsequently, the author seeks to present the radio production of the 1960s as a complex creative space, which absorbed a number of important artistic and cultural impulses from other sectors that were further developed and specifically completed. The essay draws attention to a drastic change in the dramaturgical and directorial practice of the Czechoslovak Radio after 1958 and examines the specificity of the radio play of the 1960s, i.e. the differentiation of authorial and dramaturgical strategies. Analyzes of two productions by the director Jiří Horčička – Bylo to na váš účet (It was on your account, 1964) and Výběrčí (The Collector, 1966) – refer to the typical features of Czech radio playwriting and directorial practices of the time.
Contact: Tomáš Bojda | ORCID 0000-0002-0826-3783 | Palacký University Olomouc | tomas.bojda[at]]upol.cz

Věra Velemanová
Collaboration between the Set Designer Jan Dušek and Pavel Hradil at Ostrava-based Petr Bezruč Theatre in 1969–1972. The essay discusses the beginnings of Jan Dušek's stage design practice. After completing his studies at DAMU in 1967 with his graduate project for the production Maria, Josef a zlodějíček (Mary, Joseph and Pilfer), Dušek began his long-term collaboration with the director Pavel Hradil. The essay draws attention to the first stage of their collaborarion, which took place between the years 1969–1972 at Petr Bezruč Theatre in Ostrava. Here they prepared productions such as Doctor Faust, The Tragical History of Hamlet, Prince of Denmark, The House of Dona Bernarda, and others. The essay intends to identify typical signs of Dušek's specific style, which already manifested itself in the first years of his work with vigorous and recognizable features, which were characteristic for his subsequent set designs and anticipated his most prolific collaboration with Evald Schorm at the Theatre on the Balustrade, Prague.
Contact: Věra Velemanová | ORCID: ORCID 0000-0001-8155-4408 | Arts and Theatre Institute, Prague | vera.velemanova[at]idu.cz