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Otakar Zich on the dramatic acting:

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Musilová M.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

2020

vol. 23

issue 1

81-88

This study deals with Otakar Zich's conception of dramatic acting as defined in his 1931 The Aesthetics of Dramatic Art and the historical context in which the concept was formed, e.g. within the first generation of Czech Modernism in the 1890s of which Zich was a member. Zich's aesthetics were influenced by (1) experimental psychology, particularly the associationism Zich adopted from his professor František Krejčí; (2) a theory of the work of art developed by first-generation Modernists under the influence of Richard Wagner; and (3) Nietzschean individualism. Coming from this background, Zich could not fully anticipate the tumultuous developments in theatre during the interwar period, especially the latest practical and theoretical innovations in the field of anti-illusionistic avant-garde acting.

Conceptualizing the Hollywood biopic

75%

Pérez-Simón A.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

2014

vol. 17

issue 2

50-59

The biopic has been traditionally regarded as a minor, audience-limiting genre. As a consequence of this, producers, directors and actors have tended to avoid this term when referring to their work. This paper discusses how, despite the allegedly minor status of this genre, in recent years a fair amount of Academy Awards ('Oscars') has been awarded to actors and actresses engaged in biopic performances that are celebrated as the highest exercise of acting virtuosity. Since 1998, at least one of the Oscars has been awarded to a biopic performance. In this respect, the film critic Guy Lodge notes that the Academy Awards have gone to performances "calculated as bait, ostentatiously advertising their 'degree of difficulty'". Today, the American academy understands the idea of transformation in literal terms, since the highest aesthetic value is allocated to the reproduction of physical and vocal mannerisms of the persons they impersonate. I approach the contemporary biopic fever from two different but complementary theoretical perspectives, the Prague School research on acting (Zich, Veltruský) and the theory of fictional worlds (Doležel). Finally, because of the cultural and ideological implications of the apparently transparent biopic industry, I engage in a brief philosophical reflection and argue that Hollywood privileges the copy over the simulacrum in a very Platonic fashion.

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2 Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

1 Musilová M.

1 Pérez-Simón A.

1 2020

1 2014

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Otakar Zich on the dramatic acting:

Conceptualizing the Hollywood biopic