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Realita, obraz, fikce

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Štefanides J.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2013
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vol. 16
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issue 1
6-18
EN
This article points out the necessity to research theatrical life in Moravia separately while its development until 1918 differed enormously from that in Bohemia and Silesia, as the author claims. The research has to go much further than understanding theatre history as a picture of isolated national cultures. The multicultural aspect of theatrical life has to be respected, considering the fact that the German-speaking productions predominated in this region until 1918. Lacking its own cultural centre, Moravia became the place of transition in which various forms of European theatre collided and coexisted.
2
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Ostravské činoherní divadlo v procesu transformace po listopadu 1989

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Štefanides J.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2015
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vol. 18
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issue 1
11-31
EN
The aim of the present paper is to describe the process of transformation theatres in Ostrava underwent after the so-called Velvet Revolution in 1989, which was part of broader social and political changes inciting and following the formation of the Czech democracy. The period of theatre transformation in Ostrava is delimited by the revolution in 1989 and the year 1997 when theatre festival OST-RA-VAR was established to invite theatre practitioners with critics, teachers and students into a dialogue about theatre in the region. The fruitful collaboration helped to form unique theatrical environment, which is nowadays generally acknowledged to be a noteworthy phenomenon of the Czech theatre culture.
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Společnost Josepha von Öttla v městském divadle v Olomouci (1780-1783)

100%
Štefanides J.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2019
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vol. 22
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issue 2
137-153
EN
In 1770, German-language municipal theatre was established in Olomouc. The study describes the three-year tenancy (1780–1783) of the theatre building by the company of Joseph von Öttl, to which materials including the list of repertoire and the company members survived. An analysis shows that Öttl's company, producing drama, singspiels, and pantomimes, run ambitious Enlightenment theatre, reflecting the contemporary dramaturgy of Viennese Burgtheater, in Olomouc, a fortified city on the borders of the Austrian monarchy. Equally valuable materials can later be found only about the director Carl Hain, who managed the theatre in 1796.
CS
V roce 1770 bylo v Olomouci zřízeno městské německy hrající divadlo. Studie popisuje tříleté období pronájmu divadla společnosti Josepha von Öttla v letech 1780–1783, k němuž se výjimečně dochovaly prameny se soupisem repertoáru a členstva. Analýza prokázala, že Öttlova společnost, provozující činohry, singspiely a pantomimy, prezentovala v Olomouci, tehdejší pohraniční pevnosti rakouské monarchie, ambiciózní osvícenský divadelní program, odrážející aktuální dramaturgii vídeňského Burgtheateru. Obdobně cenné prameny se dochovaly až k roku 1796 za ředitele Carla Haina.
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