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1

Rituál, válka, oběť a sňatek na českém jevišti: případ Ífigenie v Aulidě

100%
Sarkissian A.
Listy filologické (Folia philologica)
|
2013
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vol. 136
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issue 3-4
443-472
EN
The article discusses the issue of ritual in the productions of Greek tragedy, dealing with the case of ritual as an important organizing principle of the text itself. Productions of Iphigenia at Aulis on Czech stages is chosen as a case study, since the play was staged very often and in diverse contexts from the beginning of the 80ies. Several kinds of rites of passage appear in the Iphigenia at Aulis: marriage, achieving maturity through war, death and burial. They are all tainted and degraded in the play. Most of the characters subvert their purpose – with the exception of Iphigenia, who seeks to confirm the meaning of her life through her death. Czech productions do not use ritual as a means of inducing unity between performers and spectators that would take part at the event as it is in Richard Schechner’s Dionysus in 69, or in Grotowski’s experiments and work. Despite that, many references to ritual appear in the productions: the study analyzes the use of the stage space and props, shaping of relations among the characters, their actions and acting in relation to how they express the meaning and value of ritual in each production.
2

Ignatius the Deacon’s Verses on Adam in the Context of Early Biblical Drama

100%
Sarkissian A.
Eirene. Studia Graeca et Latina
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2009
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vol. 45
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issue I-II
7-22
EN
Ignatius' Verses on Adam created in the 9th century is probably the first Christian attempt at composing a biblical drama. Ignatius, as well as Ezekiel, the author of Exagoge (2nd century BC), chooses his theme in the Old Testament and employs dramatic techniques known to him from classical tragedy. None the less, his work completely differs in its dramatic qualities from Exagoge, though Ezekiel was well acquainted with Hellenistic theatre practice, while theatre productions in Ignatius' times are not well evidenced and would be most likely limited to performances of mime. In the 9th century West The Harrowing of Hell was created, commonly considered to be the origin of liturgical drama. Whereas Ignatius exploits Greek dramatic legacy in his work, the author of The Harrowing does not take it into account and maybe deliberately casts it away, being inspired with Christian literature. It is impossible to resolve the issue, whether any of these texts had ever been staged, but the analysis of their performability shows the exquisite dramatic qualities of the Verses, surpassing even the Hellenistic Exagoge. The Harrowing on the other hand belongs to the culture, where theatre was going to be born, and shows basic traits of liturgical drama, drawing dramatic potential from different resources than classical drama.
3

PRODUCTIONS OF GREEK AND ROMAN DRAMA ON THE CZECH STAGE 2001-2009

63%
Cadkova D., Sarkissian A.
Eirene. Studia Graeca et Latina
|
2009
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vol. 45
|
issue I-II
73-102
EN
The inventory provided by this paper is related to the list of Productions of Greek and Roman Drama on the Czech Stage by Eva Stehlikova, published in Eirene 2001, and completes it adding the productions staged in the following years. Several noteworthy productions were created between 2001 and 2009, each of them forming its own conception - some stressing the poetry of the text (as e.g. Phaedra, 2006), some accentuating political message contained in the drama (as e.g. Oresteia, 2005-2006), and yet other remarkable approaches were found to staging of Classical Drama.
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