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Transformace žánru robinzonády v povídce Josefa a Karla Čapkových "Ostrov" (1912)

100%
Marggraffová U.
Česká literatura (Czech Literature)
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2016
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vol. 64
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issue 3
372-391
EN
While the lives and works of brothers Josef and Karel Capek have been investigated rather well over the past century, one of their first prose texts under the name of Ostrov, written in 1912, has been paid very little attention to this day. Created during the time leading up to the First World War, when European literature turned from Symbolism and Impressionism to Avantgarde with schools like Expressionism and Cubism, the narrative pursues the myth of the self-made-man, founded by Defoe in modernity, in an inverted way. The brothers provided their text with subliminal allusions to the fate of artist Gauguin, changing the space-time scheme of the genre’s paradigm. Unlike Defoe, by doing so they also assessed not only the contrast between mankind's self-alienated civilisation of a Western European nature and the longing for a non-alienated existence in an Arcadian island world recalling ‘locus amoenus’, but also used it for their own aesthetic and historic self-reflection.
2
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A technical and contextual analysis of scenography through sculptural reproduction : Hofman and Tröster's Hamlets

94%
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.
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