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Otakar Zich on the dramatic acting:

100%
Musilová M.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2020
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vol. 23
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issue 1
81-88
EN
This study deals with Otakar Zich's conception of dramatic acting as defined in his 1931 The Aesthetics of Dramatic Art and the historical context in which the concept was formed, e.g. within the first generation of Czech Modernism in the 1890s of which Zich was a member. Zich's aesthetics were influenced by (1) experimental psychology, particularly the associationism Zich adopted from his professor František Krejčí; (2) a theory of the work of art developed by first-generation Modernists under the influence of Richard Wagner; and (3) Nietzschean individualism. Coming from this background, Zich could not fully anticipate the tumultuous developments in theatre during the interwar period, especially the latest practical and theoretical innovations in the field of anti-illusionistic avant-garde acting.
2
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Jindřich Honzl's texts on acting - between convention and spontaneity

100%
Musilová M.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2014
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vol. 17
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issue 2
137-147
EN
The terms 'spontaneity' and 'convention' obtain different meanings in Honzl's texts devoted to issues of acting. The dynamic in the interpretation of these terms is influenced by Honzl's artistic development and also by political changes in the period of 1920s–1940s. The paper is based on the research of Honzl's personal archive that includes variations of texts, proof-read versions and notes. These enable us to gain an insight into Honzl's strategy of writing the programme and theoretical studies.
3
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Teatralita veřejných událostí - uvedení do problematiky

100%
Musilová M.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2014
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vol. 17
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issue 1
9-24
EN
The present paper introduces definitions of the key concepts that frame the research on the theatricality of public events held at the Department of Theatre Studies, Faculty of Arts, Masaryk University, since 2010. The overview presents concepts such as theatricality, performance, and symbolic aspects of acting as well as the concept of "theatre as a cultural model" (i.e. theatre in the broad sense of meaning). Present research allows for the symbolic acts to be perceived as spontaneous; it also concentrates on the way in which acting in everyday life, and during public events is being made prominent by theatrical means (e.g. set, costumes, expressivity). More generally, exploring the limits of theatricality enables theatre scholars to open up their field for impulses from anthropology, sociology, and culturology, hence approach their subject of inquiry in a more interdisciplinary way.
4
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Melniková-Papoušková, Gamza a Kurš: kulturní transmise Stanislavského systému v meziválečném Československu

100%
Musilová M.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2023
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vol. 26
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issue 2
82-103
EN
The study focuses on three personalities of the interwar period of Czech theatre who brought in the first information about Stanislavsky system of acting and pedagogy to Czechoslovakia. The translator Naděžda Melniková-Papoušková introduces the Czech theatre public to the basic concepts of the system in the early 1920s, when Russian MAT groups were active in Czechoslovakia. Vladimír Gamza, actor and director, an admirer of MAT and its First Studio, also draws on his personal experience of Russian theatre. In 1928, he became acquainted with Stanislavsky’s book My Life in Art and translated some of the concepts of the system into Czech in his diary. The director Antonín Kurš became acquainted with Soviet theatre in the 1930s, at the time when the doctrine of socialist realism was being promoted.
CS
Studie se věnuje třem osobnostem meziválečného období českého divadla, které přinášejí první informace o Stanislavského systému herecké tvorby a pedagogiky. Překladatelka Naděžda Melniková-Papoušková seznamuje českou divadelní veřejnost se základními koncepty systému na počátku dvacátých let minulého století, kdy v ČSR působí ruské mchatovské skupiny. Vladimír Gamza, herec a režisér, ctitel Moskevského uměleckého divadla a jeho Prvního studia, rovněž těží ze své osobní zkušenosti s ruským divadlem. V roce 1928 se seznamuje se Stanislavského knihou Můj život v umění a ve svém deníku převádí některé pojmy systému do češtiny. Režisér Antonín Kurš se s ruským, respektive sovětským divadlem seznamuje ve třicátých letech, v době prosazování doktríny socialistického realismu.
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