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OTAKAR ZICH'S CONTRIBUTIONS TO THE THEORY OF OPERA ACTING (Podnety Otakara Zicha pre teoriu operneho herectva)

100%
Blahynka M.
Slovenské divadlo (Slovak Theatre)
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2011
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vol. 59
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issue 1
27-32
EN
The paper analyses contributions of Otakar Zich, Czech aesthetician and theatrologist, to the theory of drama and opera acting. Zich's starting point was aesthetic structuralism. In his systematic work The Aesthetics of Dramatic Art (Prague 1931), he presents his view on opera acting. It is based on an analysis of performing arts that distinguishes a dramatic character and a performer. Zich believes that opera composer does not compose just the dramatic text, but creates both musical and dramatic situations. From this position further requirements for artistic work of opera actor are derived, especially the ways of responding to opera music.
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OTAKAR ZICH: AESTHETIC AND ARTISTIC EVALUATION, PART 1

100%
Dykast R.
Estetika: The Central European Journal of Aesthetics
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2009
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vol. 46
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issue 2
179-201
EN
In this important article, first published in 1917, the Czech aesthetician, musicologist, and composer Otakar Zich (1879-1934) distinguishes between two kinds of evaluation of a work of art: aesthetic evaluation and artistic evaluation. He bases this differentiation on two possible attitudes that a perceiver may have towards a work of art. The first originates solely in the perceiver's experience of the work and his or her search for a feeling of pleasure. It reflects only the subjective preferences of the individual; Zich terms the corresponding value 'relative aesthetic value'. Above the relative value of an emotional effect there is an evaluation of a higher order, which consists in 'comprehending' a work of art. It is to this evaluation that artistic value corresponds. According to Zich, however, this objective value is grounded not in the work itself, but in the distinctive 'personal value' of the artist. In artistic evaluation, the work of art is therefore evaluated as a manifestation of strong artistic individuality.
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