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Pokoleniowe różnice w artystycznym obrazowaniu doświadczenia totalitarnej przeszłości w czeskim teatrze najnowszym

100%
Czachór S.
Miscellanea Posttotalitariana Wratislaviensia
|
2016
|
vol. 4: POKOLENIE — TRANSFORMACJA — TOŻSAMOŚĆ Gardzienickie czytania teatroznawcze… i nie tylko
49-58
EN
The article presents an analysis of a number of Czech performances from the years 2007–2013 on the topic of the communist era and reflecting on the changes that have occurred over the past 25 years. Selected directors belong to three generations of artists: the ones already creating in the 1960s, the ones debuting just before or just after the Velvet Revolution and the ones beginning their career in 2000. The comparison of performances produced within a short time clearly shows the differences, both aesthetic and ideological, in the method of recognizing similar issues by the authors growing up in a completely different socio-political conditions. Works of the oldest generation, using conventional theatrical means, reveal the strongest judgmental tendencies, the need to show the ambiguous choices in black and white colors. The average generation contend with the legend of past years, asking difficult questions about the impact of the past on the shape of collective identity. The youngest generation, however, intentionally emphasize that their knowledge about communism is mediated, which encourages them to analyze the history and memory of their families in search of their own roots.
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Boska władza reżysera. Karel Hugo Hilar – pierwszy nowoczesny reżyser w czeskim teatrze

100%
Czachór S.
Poznańskie Studia Slawistyczne
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2013
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issue 5
EN
The aim of this research was to characterize changes in the perception of a function of theatre director at the begging of the 20th century. The Czech theatrical culture taking the pattern of great European theatre reformers of that time, created a genuine theatrical theory of directing. Its first representative and implementer was Karel Hugo Hilar. His work was based on an assumption that a director is the highest instance in a preparation of performance, that can be compared only to a role of a sovereign. Moreover, Hilar was the first in the Czech cultural context to call a director the creator of a scenic reality. A reality that would represent a current world view transformed by theatrical means and the creative imagination of an artist.
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