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Věda jako jednání: Pražský lingvistický kroužek, kulturní aktivismus a myšlení o divadle

100%
Bernátek M.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2016
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vol. 19
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issue 1
9-36
EN
Structural approach to theatre was developed in the late 1930s and during the WW2 in frame of Prague Circle (“PLC”) as a result of an activist approach to scholarship and close collaboration between theatremakers and scholars. Although the connection between avant-garde aesthetic of 1930s and structuralist writing on theatre has been already described, there are more important relations beyond that generally acknowledged frame. Seminal structuralist essays on theatre were often written as polemics that were addressed, besides regular readers, to the opponents of PLC members. They were also written in the already changed cultural context, where the previous avant-garde model was the object of reflection and overcoming. Furthermore, this approach was driven by the need to explain Avant-Garde theatre to general public by terminology of modern scholarship. The so called Prague theatre structuralism could be therefore seen as a paradigm of scholarship that formulates its theories with respect to science popularisation as well as an attack against other “actors” in the field of theatre studies. The author focuses on the practical and organisational aspect of the PLC. Different modes of collective action in the public space as well as material conditions of existence and financial support are described. Attention is also paid to national and political (leftist) affiliation of the members of the Circle. From this perspective the PLC approach to theatre is analyzed as set of action rather than set o text and ideas.
2
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Music with a revolutionary purpose: jazz journalist Emanuel Uggé

86%
Vidomus P.
Hudební věda (Musicology)
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2022
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vol. 59
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issue 2-3
246-314
EN
Emanuel Uggé (1900–1970) ranked among the most influential Czech writers on jazz in the first half of the 20th century. This study charts his impact on the reception of jazz in the Czech context, and draws parallels with Western exponents of purist approaches to jazz, including the likes of Hugues Panassié, Rudi Blesh or Charles Edward Smith. The text also challenges the oversimplifying narrative about the strictly repressive character of the communist regime’s attitude towards jazz: himself a diehard Marxist, Uggé loved jazz and publicly defended it not just in the 1930s, but as a member of the Czechoslovak Communist party still after the communist coup of 1948. He was convinced that the new order, and the country’s nationalized recording industry, would finally make possible the definitive triumph over “commercial concoctions”, and “pure jazz” would emerge as an authentically revolutionary force in the service of the proletariat. Uggé’s influence on subsequent generations of jazz writers was essential, and his arguments continued to serve for a long time as a theoretical basis in dealing with music production organizers and censors.
CS
Emanuel Uggé (1900–1970) patřil k nejvlivnějším českým jazzovým publicistům první poloviny 20. století. Tato studie mapuje jeho vliv na recepci jazzu v českém prostředí a identifikuje paralely se západními jazzovými puristy typu Huguese Panassié, Rudiho Bleshe či Charlese Edwarda Smithe. Práce rovněž zpochybňuje příliš zjednodušující narativ o striktně represivní povaze komunistického režimu ve vztahu k jazzu: Uggé jako přesvědčený marxista jazz miloval a veřejně obhajoval nejen ve 30. letech, ale coby člen KSČ i po komunistickém převratu v roce 1948. Byl přesvědčen o tom, že nové uspořádání a znárodněný gramoprůmysl umožní konečně zvítězit nad „komerčními zplodinami“ a „ryzí jazz“ bude vskutku revoluční silou, ve službách proletariátu. Uggého vliv na další generace publicistů byl zásadní a jeho názory dlouhou dobu sloužily jako jistá argumentační báze při vyjednávání s pořadateli a cenzory.
3
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Spojité nádoby: Etnologie, pražský strukturalismus a česká divadelní avantgarda

86%
Šlaisová E.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2016
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vol. 19
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issue 1
65-85
EN
The study explores the exchange of impulses and ideas between the three fields indicated in the title, presenting Petr Bogatyrev as their mediator. It is concerned, among other things, with Bogatyrev connecting the findings of French sociologically-oriented ethnologists, such as Emil Durkheim and Luciene Lévy-Bruhl, and German ethnologists (Hans Neumann) to the theories of the Prague Linguistic Circle and their influence of Jan Mukařovský’ sociology of art. The author focuses on the way in which Bogatyrev combines the formal and sociological perspectives, and applies them on different cultural phenomena (folk beliefs, folk art, high art) as they move between different cultural strata. Another point of inquiry is the collaboration of Bogatyrev and theatre director E. F. Burian, whose montage of folk poetry is presented in the paper as a theatrical enactment of Bogatyrev’s structural-functional method, i.e. the transformation of function, structure, and meaning in transition between folk and high art.
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