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1

Anticka dramata Jaroslava Vrchlickeho a jejich dobova recepce

100%
Čadková D.
Listy filologické (Folia philologica)
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2013
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vol. 136
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issue 1-2
189-219
EN
Jaroslav Vrchlický (1853–1912), an important Czech Parnassian poet and translator wrote also a number of dramas for the newly established National Theatre in Prague (1883). Ten of these plays are based on topics from Ancient Greece and Rome, thus providing valuable information on the attitude of the Czech society in the autumn of the national revival to classical culture and antiquity in general. In the present study, we review the plays (except for the trilogy of Hippodamia which will be addressed in the next study) and their reception in the contemporary press. The conservative theatrical critics mostly highlight the modern approach of Vrchlický to classical themes, and appreciate that characters of his plays are comprehensible to the spectator. In spite of frequent anachronisms and historical inaccuracies, the plays are praised for vividly transmitting the spirit of the remote ancient civilization to the modern audience. On the other hand, the exponents of modern Realism point out that Vrchlický’s dramas suffer from illogical and affected plots and unlikely characters and criticize them for not addressing the real problems of the world. This all indicates that the attitude of the Czech public of the late 19th century to the ancient Greek and Roman culture and its reception was less rigid but also more indifferent than presumed.
2

Vrchlického Hippodamie a její dobová recepce

86%
Čadková D.
Listy filologické (Folia philologica)
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2013
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vol. 136
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issue 3-4
415-441
EN
This paper is a continuation of our study “Jaroslav Vrchlický’s Dramas Inspired by Classical Antiquity and Their Contemporary Reception” (“Antické hry Jaroslava Vrchlického a jejich dobová recepce”) in the previous issue of this journal. It deals with Vrchlický’s trilogy of Hippodamia (1890-1891), a stage melodrama with music by Zdeněk Fibich. We discuss its relationship to the Greek tragedy, in particular to the Aeschylus‘s Oresteia (quotations and paraphrases of Greek texts, use of the chorus, themes of guilt and atonement, etc.) and view it in the context of general tendencies of the fin de siècle culture. We also pay attention to the reception of the Hippodamia trilogy in the contemporary press. As in the case of other Vrchlický’s dramas inspired by Classical Antiquity, Hippodamia was appreciated mainly for modernization of the Greek myth and for transmission of the spirit of the remote ancient civilization to the 19th century audience.
3
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A technical and contextual analysis of scenography through sculptural reproduction : Hofman and Tröster's Hamlets

58%
Matthews D.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2018
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vol. 21
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issue 2
29-37
EN
Vlastislav Hofman's Hamlet at the National Theatre in 1926 and František Tröster's Hamlet at the Vinohrady Theatre in 1941 are undeniably different interpretations of one of Shakespeare's superlative plays. They are notable as works that illustrate a slight change in aesthetic for the designers, with Hofman moving away from his roots in Czech Cubism and Tröster showing his mastery of staging while letting the scenery take on an ethereal, minimal quality. My research has focused on recreating the sets to scale in a format that can be viewed in a gallery setting. This paper seeks to frame each example in its historical context, give an account of the transition from initial rendered ideas to what ended up on the stage, and document the process of constructing the models with a focus on permanence and attracting the interest of gallery-goers while staying true to the scenographer's work.
4
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Ve stínu Smetanovy Libuše: Fibichův Blaník a Národní divadlo

58%
Kopecký J., Ottlová M., Vomáčka I.
Hudební věda (Musicology)
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2021
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vol. 58
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issue 1
76-119
EN
The character of the output of Czech composers between the 1860s and 90s was determined to a considerable degree by competitions for new operas. The first such competition, announced by Count Harrach, was won by Smetana’s The Brandenburgers in Bohemia; another contest was linked with the planned opening of the National Theatre; the third one already aimed at augmenting the National Theatre’s repertoire (it was won by Zdeněk Fibich with The Bride of Messina, 1884); and the last in this series of competitions fell within the context of the Bohemo-Slavic Ethnographic Exhibition (1895). The present study concentrates on the second of these opera competitions, which was entered by three serious operas: namely, Smetana’s Libuše, Bendl’s Montenegrins, and Fibich’s Blaník. Though the main prize went predictably to Libuše, Bendl and Fibich ended up with both financial rewards and recommendations for their operas to be staged, which led to their subsequent acclaimed productions. Fibich’s Blaník is described here as a distinctive example of aspirations to follow up the endeavour initiated by Bedřich Smetana. There, the comparison of Libuše and Blaník makes possible to reveal the original approaches present in Smetana’s opera, while at the same time confronting the actual work with expectations harboured by the general public. Where, at the stage of sketching Libuše, Smetana had already arrived at a clearly defined form of musical dra- ma, Fibich accepted the conditions set by his librettist, Eliška Krásnohorská and proceeded to adjust his grand opera concept to Wagnerian principles. The subsequent history of Fibich’s opera have even inspired a hypothesis about the sustained approximation of the composer’s initial concept to the model format of Smetana’s Libuše. Accordingly, detailed analysis is supplemented here by insights into the opera’s reception, and work with manuscript sources. The existing knowledge of a broader context is complemented here by additional information about the previously insufficiently explained attitude of Antonín Dvořák who – as seems to be corroborated by newly accessible sources – worked on his Dimitrij in the close vicinity of Libuše and Blaník, and yet decided to compete with these operas straight away in the National Theatre’s repertoire, without any prior confrontation.
CS
Tvorbu českých skladatelů od šedesátých let po devadesátá léta 19. století do značné míry určovaly soutěže na opery. První operní konkurz vyhlásil hrabě Harrach a vyhrála ho Smetanova opera Braniboři v Čechách, další konkurz byl spjatý s plánovaným otevřením Národního divadla, třetí soutěž již měla doplnit repertoár Národního divadla (vyhrál Z. Fibich s operou Nevěsta messinská, 1884), poslední soutěž spadá do období Národopisné výstavy českoslovanské (1895). Studie se zaměřuje na druhý operní konkurz, do kterého byly přihlášeny tři vážné opery: Smetanova Libuše, Bendlovi Černohorci a Fibichův Blaník. Ačkoliv hlavní cenu vyhrála, podle očekávání, Libuše, dostalo se Bendlovi a Fibichovi jak finančního ocenění, tak byly jejich opery doporučeny k provozování a posléze i s úspěchem přijaty. Fibichova opera Blaník je pojednána jako výrazný příklad pokračování ve snahách Bedřicha Smetany. Konfrontace Libuše a Blaníku umožňuje odkrývat originální řešení ve Smetanově díle a zároveň upozorňovat na očekávání ze strany publika. Jestliže Smetana prošel ve fázi skicování Libuše k jasnému hudebně dramatickému tvaru, Fibich přijal podmínky své libretistky Elišky Krásnohorské a postupně velkooperní koncepci upravoval podle zásad wagnerianismu. Další osudy Fibichova díla dokonce zakládají hypotézu o neustálém přibližování původní koncepce k ideálu Smetanovy Libuše. Zevrubná analýza je proto doplněna vhledem do recepce díla a prací s rukopisnými prameny. Širší kontext doplňuje doposud neuspokojivě vysvětlené jednání Antonína Dvořáka, který – jak se zdá díky nově přístupným pramenům – tvořil svého Dimitrije v těsné blízkosti Libuše a Blaníku, avšak rozhodl se těmto operám konkurovat přímo v repertoáru Národního divadla.
5
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Tragedia Saul Vittorio Alfieriego w adaptacji Wojciecha Bogusławskiego. Rekonesans badawczy

44%
Purgał L.
Tematy i Konteksty
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2016
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issue 6(11)
238-253
EN
The work of Wojciech Bogusławski, adaptation from the tragedy by Vittorio Alfieri, depicts two characters who present their arguments to each other. King Saul is characterized by cruelty and quite pathological pride, whereas David, his adversary, is noble, valiant and ready to sacrifice himself for the good of his country. The events of the tragedy are modelled after the biblical story of King Saul, who is abandoned by the spirit of God, and David, favoured with the blessing of the Creator, presented in the First Book of Samuel. Yet, the tragedy of Alfieri-Bogusławski is not only a rephrased version of the biblical text because the time of the plot begins when the story in the Bible finishes. The biblical events in the tragedy are shown in flashback. The paper is a research reconnaissance, as it presents fundamental remarks on the interpretation of the tragedy and suggestions for further study, especially concerning the function of the characters’ performance. Further examination is needed of the technique used by Bogusławski in adapting the work of Alfieri, and of the translation. The paper only presents general characteristics of the Polish translator’s decisions. Boguławski himself was aware of the consequences of translating a rhyming piece as prose. He strove to write concisely, to salvage the depth of thought and the expressive power of the original, to preserve most of the language, which would enable accurate communication with the reader, delight of the audiences, compassion for the characters, pity, fear, and thus to recreate high style in order to reproduce the category of grandeur, pathos and heroism. From the analysis of selected aspects of Bogusławski’s literary technique and artistry, it appears that the tragedy is an artistically mature piece and should be subject to further, more detailed study.
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