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Od propozic k systému? aneb „Historisovati“ Jiřího Veltruského...

100%
Drozd D.
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
86-128
EN
Based on careful study of archival materials the study presents the research, newspaper writing and political activities of Jiří Veltruský, covering especially the years of his studies at university and after the WWII. The author pinpoints, for example, Veltruský’s theatre activities with secondary-school students in the Avant-Garde Theatre Group of the Youth, his political engagement, and close relations to Záviš Kalandra and Karel Teige, and the Surrealists. The gist of the study represents an analysis of as yet unpublished introductory paragraphs of the renowned lecture by Veltruský, published as ‘Dramatický text jako součást divadla’ (Dramatic text as a Component of Theatre, 1941), which include a relevant polemic discussion with the previous structural theatre theories (esp. the ones by Honzl and Bogatyrev). The author of the study, therefore, suggests a reinterpretation of the decade between 1930 and 1940 when the interest of Prague Structuralists in theatre theory culminated as a period of negotiating and re-thinking the structuralist ideas over theatre performance. The historical circumstances, especially Veltruský’s emigration to Paris in 1948, then prevented a satisfactory conclusion of the discussions and caused petrification of texts which may not have originally been meant to become a canon.
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Mimetické a nemimetické aspekty divadelního prostoru: Několik myšlenek o "Pohybu divadelního znaku“ Jindřicha Honzla

80%
Rokem F.
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
54-64
EN
Jindřich Honzl’s seminal essay on the “Dynamics of the Sign in the Theater” from 1940 serves as the point of departure for discussing the borderline between the building (or site) where the performance event takes place and its mimetic dimensions, through which the scenography or scenery as well as the acting and all the other elements of a particular production create a specific fictional world, determined by plot, characters and circumstances. The basic issue I raise here is how and to what extent the semiotic coding of the stage and the auditorium, including its two– and three-dimensional semiotic modelling systems, which initially may seem to be a neutral, non-mimetic feature of such an event are profoundly connected to the fictional, mimetic aspects of a theatrical event, even determining what kind of action and characters can appear in such a space.
3
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Mimetic and non-mimetic aspects of space in the theatre : some reflections following Jindřich Honzl's "Dynamics of the sign in the theater"

71%
Rokem F.
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
60-70
EN
Jindřich Honzl's seminal essay on the "Dynamics of the Sign in the Theater" from 1940 serves as the point of departure for discussing the borderline between the building (or site) where the performance event takes place and its mimetic dimensions, through which the scenography or scenery as well as the acting and all the other elements of a particular production create a specific fictional world, determined by plot, characters and circumstances. The basic issue I raise here is how and to what extent the semiotic coding of the stage and the auditorium, including its two- and three-dimensional semiotic modelling systems, which initially may seem to be a neutral, non-mimetic feature of such an event are profoundly connected to the fictional, mimetic aspects of a theatrical event, even determining what kind of action and characters can appear in such a space.
4
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Od smutného Pierota k pyšnému vezírovi aneb Honzlovy České písně kramářské

70%
Šlaisová E.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2021
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vol. 24
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issue 1
147-187
EN
At the beginning of the 1940s, Jindřich Honzl inclined to Czech traditional folklore, such as popular songs, poetry, plays, theatre, children's games etc. These were intended for the Theatre for 99 (Divadélko pro 99), which he ran between the years 1939 and 1941. One of Honzl's most successful productions and, in fact, the only one that he staged from the area of folklore, was his dramatic montage Czech Broadside Ballads (České písně kramářské, 1941). In this montage, Honzl endeavored to change the common view of the broadside ballad as a clichéd, lowbrow artistic form, and to reveal its potential for contemporary art (theatre) as well as society. Based on (recently discovered) archival materials, this study reconstructs Honzl's 1941 production of Broadside Ballads, and reveals that the image of the production presented in scholarly literature for decades is rooted in a book version of Czech Broadside Ballads from the 1960s, which does not faithfully reflect the original production. The study explores Honzl's innovative approach to the genre of the broadside ballad in terms of the selection of themes (ranging from sacral to profane, from intimate to social, etc.); forms (lyric, epic, ballad); and staging practice, including montage, projections, puppet, and folk theatre; as well as the use of light and colours, motifs/leitmotifs, and metaphorical political allusions.
CS
Na začátku 40. let 20. století usiloval Jindřich Honzl o scénické zpracování lidového umění; dramatizoval a režijně upravil mnohé folklorní žánry, jako např. lidové písně, balady, dětská říkadla a hry. V souvislosti s Honzlovým zájmem o folklor má jedinečný význam pásmo České písně kramářské (1941), neboť – přesto že mělo být prvním – zůstalo jediným realizovaným Honzlovým představením z této oblasti. Tato studie vychází z archivních materiálů, na jejichž základě autorka rekonstruuje tuto Honzlovu divadelní montáž a odhaluje, že obraz inscenace prezentovaný v odborné literatuře se v mnoha aspektech liší od původní podoby. Studie představuje Honzlův inovativní přístup ke kramářské písni (z hlediska výběru témat, písňové formy a inscenační praxe), jehož prostřednictvím se snažil upozornit na estetické kvality a sociální aspekt tohoto žánru, poukázat na paralely s moderním uměním a společenskou/politickou situací 40. let.
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Od sociálně-demokratické spirituality k socialistickému realismu: koncept lidovosti v myšlení Jindřicha Honzla o divadle

61%
Kunderová R.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2021
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vol. 24
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issue 1
188-215
EN
The study examines the concept of "the popular" in the thinking of theatre director and theorist Jindřich Honzl (1894–1953). By analyzing his essays and articles, the essay describes the changes in Honzl's approach to the popular as reflected in his critical writing during his theatre career and as placed within the context of politics and theatre history. Based on the discussion of existing Czech theatre historiographic literature about Honzl (the majority of which was published before 1989), the study offers novel findings and connections, many of which have been ignored, often for ideological reasons. The essay brings a close study of Honzl's sources of inspiration, from the beginnings of his work in the era of the so-called proletarian theatre, especially by embedding Honzl's thinking in the social democratic ideology and his knowledge of post-revolutionary Soviet theatre until 1925. The essay subsequently offers a characterization of the changes in Honzl's understanding of "the popular" during his Poetism and Surrealist phases, as well as after the Second World War, when he converted to Socialist Realism.
CS
Studie zkoumá koncept lidovosti v myšlení divadelního režiséra a teoretika Jindřicha Honzla (1894–1953). Prostřednictvím analýzy jeho studií a článků autorka pojmenovává proměny pojetí lidovosti v Honzlově uvažování během jeho divadelní kariéry a zasazuje je do divadelně-historického a politického kontextu. Na základě diskuse s dosavadní českou divadelně-historiografickou literaturou o Honzlovi, jejíž většina byla publikována před rokem 1989, přináší studie poznatky a souvislosti, které byly dosud – nezřídka z ideologických důvodů – opomíjeny. Autorka se podrobně zabývá Honzlovými inspiračními zdroji na počátku jeho divadelní činnosti v období tzv. proletářského divadla, zejména ukotvením Honzlova myšlení v sociálně-demokratické ideologii a jeho obeznámeností s porevolučním sovětským divadlem do roku 1925. Následně charakterizuje proměny Honzlova chápání lidovosti divadla v průběhu jeho poetistického a surrealistického období a po konci druhé světové války, kdy se přiklonil k socialistickému realismu.
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Functional reformulations : Prague School and intralingual translation

57%
Drábek P.
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
81-95
EN
The essay analyses the central ontological gesture of the Prague School (or Prague Linguistic Circle) on the examples of Jindřich Honzl's seminal text on the theatrical sign and Roman Jakobson's later essay on translation. This ontological gesture is contextualised historically and politically with the PLC's activities in its early decades, and proposes a radical and perhaps provocative revision of the notions of the sign and the Prague School taxonomy in general with a view to the non-conceptual (or pre-conceptual) understanding of the signifying process. Honzl refers back to and elaborates on Zich and his revolutionary statement that "a stage stops being a stage once it ceases to represent something"; in doing so it precludes any nominalist assumptions that would prime the signifying process.
7
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Věda jako jednání: Pražský lingvistický kroužek, kulturní aktivismus a myšlení o divadle

50%
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.
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