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THE ADDITION OF OTAKAR HOSTINSKY TO THEORY OF DRAMATURGY IN OPERA (Prinos Otakara Hostinskeho k teorii opernej dramaturgie)

100%
Blahynka M.
Slovenské divadlo (Slovak Theatre)
|
2009
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vol. 57
|
issue 1
3-10
EN
In context with opera phenomenon, the basic of Hostinsky´s question is not the problem of its type and genre, but phenomenon itself and assumes of its creation, which are given by possibilities of connecting the individual arts. We can research the phenomenon of opera dramaturgy and its theoretical reflection in Otakar Hostinsky´s work either on the basis of his theoretical works or from his popular-science texts and opera critics. The specific view on dramaturgy practice in opera is presented by Hostinsky´s librettos. We have to take in the term dramaturgy not only as creative and conceptual work, which is connected with preparation of staging, but also in original Greek meaning of this term. Otakar Hostinsky stays at the beginning of the line, which tracks we could follow up to Patrice Pavis, who defined the main task of dramaturgy. Hostinsky understands dramaturgy and opera staging practice as a coupled bowls. To reflect the first one without reference to the second is methodically incorrect and misleading. Hostinsky anticipates trend, which doesn´t consider the subject of dramaturgy analysis the set-up of work and its parts, but at the same time it determines, that the main task of analysis will be the interpretation of work sense.
2
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Estetik Jaroslav Hruban, žák Otakara Hostinského

88%
Foglarová E.
Studia theologica
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2005
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vol. 7
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issue 3
39-62
EN
The author created a portrait of the Czech aesthetic thinker Jaroslav Hruban (1886-1934) based on his aesthetic works and biographical facts. Jaroslav Hruban, who was a disciple of Otakar Hostinsky (1847-1910), was one of the founders of modern Czech aesthetics. He was the first one who wrote about the aesthetics of Saint Augustine and Dante Alighieri in Czech, and the first one who wrote a Czech introduction to aesthetics. He dealt with the question of aesthetic values that are important for aesthetic culture. In the essay, the connection between Jaroslav Hruban and Otakar Hostinsky is especially stressed, in spite of some important differences. According to the author, Jaroslav Hruban was among the leading Czech thinkers of aesthetics in the first half of the 20th century.
3
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Osudy osobního archivu Otakara Hostinského

75%
Kábová H., Veverka K.
Hudební věda (Musicology)
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2010
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vol. 47
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issue 2-3
273-284
EN
At present we do not have available any complete and thorough discussion of the fates, distribution, and condition of written materials from the estate of the Czech aesthetician and musicologist Otakar Hostinský (1847–1910), despite his undeniable importance for Czech culture. The present study offers the results of research in this area. The administrator of Hostinský’s papers after his death was Zdeněk Nejedlý, who divided them into several parts which were then deposited in various institutions according to their expected future usage. The more precious materials remained and still remain in the ownership of Hostinský’s family. Using information acquired through study in archives and from the families of Hostinský’s descendents, it has been possible to assemble a stemma showing the institutional distribution of Hostinský’s papers. The present article should help future researchers in use of sources for study of Hostinský’s life and work.
4
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REFLECTION ON THE THEORY OF OPERA AND THE COLLECTED ARTWORK BY THE REPRESENTATIVES OF FORM AESTHETICS OF THE 19TH CENTURY (Reflexia teorie opery a suborneho umeleckeho diela u predstavitelov formovej estetiky 19. storocia)

63%
Blahynka M.
Slovenské divadlo (Slovak Theatre)
|
2009
|
vol. 57
|
issue 4
300-305
EN
The study analyzes the view on the opera, musical drama and problem of art fusion issues given by the aestheticians Eduard Hanslick, Otakar Hostinsky and Josef Durdik. The view on Richard Wagner's incentives on the theory of opera, musical drama and collected artwork shows that it is not always the material of art works which is crucial, but also the way they are composed and presented. This position on the aesthetics and art theory was attained by structuralism and based, among other things, on the criticism of the form aesthetics.
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