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Presages of contemporary theatre studies theories in Vladimír Jindra's structuralist theory of scenography

100%
Havlíčková Kysová Š.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2023
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vol. 26
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issue 1
82-100
EN
The study provides detailed analysis of the work of Czechoslovak theoretician of scenography, Vladimír Jindra (1920–1979). It focuses on Jindra's at the time innovative taxonomy of scenography which substantially supported the shift in today's worldwide understanding of the notion of scenography as a complex theatrical discipline. The aim of the study is to connect Jindra's work with contemporary theoretical approaches to theatre, especially rooted in multimodal and cognitive analysis of scenography. Special attention is given to the elements of Jindra's work that predated Multimodal Metaphor Theory. The study shows that his conception of scenography is connected to the structuralists' understanding of the socalled 'stage metaphor'. This exploration should therefore show the reader not only the progressiveness of Jindra's thinking about scenography, but also outline a view on possible future research in the field of multimodal and cognitive approaches to theatrical scenography.
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Stage metaphors in Verdi's Otello : Miloš Wasserbauer's State Theatre production (Brno 1967) in the context of Otello's staging tradition

67%
Havlíčková Kysová Š.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2016
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vol. 19
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issue 2
29-58
EN
The article deals with the stage metaphors of Verdi's Otello with particular interest in the 1967 Brno production, directed by Miloš Wasserbauer. The main metaphor discussed is that of containment. The author compares Wasserbauer's interpretation with former and later productions depicting the main stage metaphors. The first part of the article deals with the stage metaphors inherent in both Boito's libretto of Otello and in Shakespeare's Othello. The second part of the article focuses on essential elements of staging which are rooted in Otello (including the score). The third part analyses the staging practice of Otello with special regard to Wasserbauer's production. The methodological apparatus of the article is inspired by the Conceptual Metaphor Theory (CMT).
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