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1

Aristophanes’s Entry onto the Contemporary Czech Stage between the Wars and during World War II

100%
Sipova P.
Eirene. Studia Graeca et Latina
|
2009
|
vol. 45
|
issue I-II
34-48
EN
Since the end of the Second World War, well over eighty performances of Aristophanes's plays have been staged, meaning that ancient Greek comedy has become a permanent part of the Czech theatrical repertory. Over the course of more than eighty years, Aristophanes's plays have been staged almost every year, with four performances in different locations in the Republic being unexceptional. Lysistrata alone has been performed at least forty-five times since the end of the war, a figure comparable with performances of Shakespeare's Midsummer Night's Dream. In the interwar period and during the Second World War the name of Aristophanes was associated with many directorial personalities, among whom Karel Capek and Jiri Frejka excelled, together with significant artists like Josef Capek and Antonin Heythum. Aristophanes comedy in translation by Ferdinand Stiebitz became the new novel material and a source of opportunities for the emerging generation of Czech avant-garde theatre; moreover, the stage performances on several occasions served as a pacifist manifesto (Frejka, Podhorsky) in difficult times of impending fascism.
2

THE METAMORPHOSES OF OEDIPUS THE KING

100%
Stehlikova E.
Eirene. Studia Graeca et Latina
|
2009
|
vol. 45
|
issue I-II
49-55
EN
The staging of Sophocles' tragedy Oedipus the King has a long tradition on the Czech stage. It was staged for the first time in 1898, and up today information about 60 productions has been collated in the database of Czech productions of ancient plays (see www.olympos.cz). In the last few years, the figure of Oedipus has gained new features in Czech theatres (especially in Prague). The turnaround began, in particular, in Miroslav Krobot's production at the National Theatre (premiere 22 February 1996). Another untypical Oedipus was staged at Prague's Divadlo pod Palmovkou (Under Palmovka Theater) on 22 May 2002 under the directorship of Lucie Belohradska. A further level in a certain disparaging of the figure of Oedipus was introduced by Jan Novotny's production at the Strasnicky Theater (premiere 22 June 2008). In these three cases we are able to see a gradual degradation of the complex figure of Oedipus, and perhaps we are not far from the truth when we say that Oedipus is being gradually demythologized on the Prague stage and is drawing nearer to today's unflattering form of political representatives with all their arrogance and incompetence.
3

PRODUCTION OF SENECA'S PHAEDRA IN PRAGUE

100%
Cadkova D.
Eirene. Studia Graeca et Latina
|
2009
|
vol. 45
|
issue I-II
69-72
EN
Although the performance of Seneca's tragedies basically has no great tradition in the Czech Republic and Seneca is unknown to the general public as an author of tragedies, the team of Divadlo v Dlouhe decided to present a performance of his Phaedra. Thus a remarkable, even artistic performance was created, based on highly stylized movements and declamations, emphasizing the poetic nature of the text and experimenting with the theatrical space. The article provides a description of this performance.
4

OEDIPUS IN THE VILLAGE. THE FIRST OUTDOOR PERFORMANCE OF A GREEK TRAGEDY IN BOHEMIA

88%
Stehlikova E.
Eirene. Studia Graeca et Latina
|
2009
|
vol. 45
|
issue I-II
56-68
EN
The first Czech outdoor performance of a Greek tragedy (Oedipus the King) was produced by Vaclav Krska, in the South Bohemian village in 1936. There was no permanent natural theatre with a solid stage construction and auditorium there. The actors (and their friends) built a corresponding venue for each performance in the forest. Krska's actors were recruited from among the local villagers, and naturally there were amateurs with great theatre experience. Some of them had been a part of the company for many years, they had been systematically educated, and collaboration with professionals meant a lot to them (the role of Oedipus was played by Eduard Kohout, star of the National theatre). Krska's interpretation of the play was more or less Winckelman-like. The performance, which was attended by spectators from the distant surroundings, was very successful. Prestigious actors from Prague even came to the rehearsal and the premiere was attended by a well-known journalist from Prague who wrote about the performance for a national newspaper.
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