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Strukturalistická stopa Olgy Srbové

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Stehlíková E.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

2016

vol. 19

issue 1

181-200

The name of Olga Srbová (16. 7. 1914–14. 4. 1987) has almost fallen into oblivion, as she stopped to use her maiden surname after she entered into marriage with actor Jaromír Spal, being known as Olga Spalová since then. Therefore, she is mostly known for her later, post-war engagement in radio; but the first stop in her career, and her life’s love, was theatre. Olga Srbová started her university studies in 1933, receiving Ph.D. degree from Czech and French Language and Literature at the Faculty of Arts, Charles University in 1937 (dissertation: “The Characteristics of the new Czech historical novel”). Among her teachers were, according to her student’s record book, J. Mukařovský, A. Pražák, F. X. Šalda, M. Weingart, V. Tille and others. Firstly, she thought of devoting herself to theatre theory; while only a few theoretical studies can be found in the scope of her works, they nevertheless testify that Srbová mastered the methods of her teachers with skill and understanding: “The Character in New Drama” (Word and Verbal Art 3 (1937): 4: 221–226) contributes to the changes of the concept of a character in the contemporary theatre; in the “Authorial Stage Directions” (Life 15 (1937): 3–4: 98) she explores the influence of the contemporary stage practice on the nature of stage directions. As many others of her generation she admired the new media – film and radio; to the latter she devoted a booklet Radio and Verbal Art (Praha: Vyšehrad, 1941), even now valued as one of the most important works of the time. Until 1946 she wrote mostly theatre reviews, having started publishing in the renowned Students’ Journal in 1927. There she published her first poems and short stories, and in a short time (from 1930 on) also essays on theatre and theatre reviews. She published in other periodicals too (in more than 30 between 1931 and 1976), the height of her career as a critic being the cooperation with the daily newspaper Práce (after 1945). Being well versed in the whole of the contemporary theatre, both Czech and European one, she could comment with equal expertise on drama, stage speech, verse speaking, character building, direction, set design, actors training, and theatre theory. However, the most interested she was in actors’ work; the indisputable top of her attempts at portraying actor is the Theatre or the Book of Dreams (Praha: Odeon, 1975), the story of the actor’s career of Eduard Kohout.

Teatrologie v čase Priorů

80%

Topolová B.

Slovo a smysl - Word & Sense

2020

vol. 17

issue 35

123-138

This study analyzes the publication of the samizdat magazine Dialog, which offered a remarkably consistent and integrated diagnosis of contemporary Czech theatre in the 1970s. By identifying and critically reflecting on the theatre’s innumerable exceptional achievements and alternatives, against the background of its predominantly and unvaryingly average (and below average) offerings, the magazine searched for, formulated, and maintained the value criteria for both theatre criticism and the theatre arts. Despite the fact that after three years under trying circumstances the strength and resources of the editorial board and contributing authors were inevitably exhausted, the collection of texts presented by the magazine is undoubtedly one of the most relevant sources we have today on the theatre and productions of the period. The unsatisfactory state of other public professional critical platforms, as well as the many restrictions imposed on the daily press in the field of theatre arts, make the achievements of Dialog by comparison irreplaceable to historians today. In the broader context, the magazine can be seen as an attempt to distil the quintessence of the present through a cri tical reception of contemporary theatrical productions. A common leitmotif of Dialog, one that may be found in both its reviews and more comprehensive essays and studies, was an urgent expression of the inadequacy – or indeed the total absence – of stylistics in the theatre of its time. [*Obchodní domy Prior was a chain of state owned department stores in Normalisation era Czechoslovakia.]

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1 Slovo a smysl - Word & Sense

1 Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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1 Topolová B.

1 2020

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Strukturalistická stopa Olgy Srbové

Teatrologie v čase Priorů