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Kwestia niesmaku. Czeski kamp

100%
Firlej A.
Bohemistyka
|
2015
|
vol. 15
|
issue 1
65 - 72
EN
In this essay I propose to consider 'kamp' style - on the example of chosen phenomena from the Czech culture - understood as a universal act of rebellion against the dictatorship of the so-called "good taste" and as a pressure of "Dionysians" on exclusive company of "aristocrats of the spirit". If the history of art is actually the history of changing taste, the 'kamp' current must be the perpetual and protean phenomenon. I propose to treat kamp as a type of avant-garde gesture in the broad sense, based on the trend of democratization, in many respects analogous to the phenomenon against which it acts (this is characteristic for each revolution and for her brother: carnival). Ostentation, mocking rejection of the canon and dismantling of the dominant determinants of taste become the methods of fight. Artistic kitsch, mannerism, parody or subversive practices are the most frequent expressions of kamp. In the essay I present the work of artists from Czechoslovakia and the Czech Republic after World War II: photographer Jan Saudek, film duo Oldrich Lipský and Jiří Brdečka, playwright David Drábek and showman Daniel Nekonečný, considering it as a socially committed acts carried out in the framework of the "revolution of disgust".
2
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In matters of taste, there can be no disputes. Elements of Camp in Fráňa Šrámek’s play »Léto«

100%
Firlej A.
Bohemistyka
|
2013
|
vol. 13
|
issue 2
85 - 100
EN
In this sketch I am going to focus on the presence of elements of Camp aesthetics in the Fráňa Šrámek's drama Léto, written and staged in 1915. Dandyism became popular at the turn of the 19th and 20th century in Czech culture and it would be the most crucial reference point to the Campy attitude. As a "local text" of the Czech decadentism, it took a place of bohemianism. In this sketch I understand Camp as a type of aesthetic avant-garde sensu largo, based on democratic tendency and on a fight against the given taste, analogues in many regards to the phenomenon it is against.
3
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Od Tomáša Strausslera do sir Toma Stopparda

100%
Firlej A.
Didaskalia. Gazeta Teatralna
|
2020
|
issue 156
1-20
EN
The article aims to present the formal, narrative and structural duality characteristic of Tom Stoppard’s dramaturgy in relation to his biographical experience of changing his identity from Czech to British and being exposed to Central European, Asian and Indian cultures. In the second part of the paper, his work is interpreted in the context of its potential links to Czech culture; the thesis is based on information provided by Stoppard himself, facts about the reception of Czech theatre in the West and the contents of the British playwright’s works with their important references to Czech culture.
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