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AGAINST POLITICAL COMPROMISES – COMING TO TERMS WITH THE AUSTROFASCIST AND NATIONAL SOCIALIST PAST IN JOHN OLDEN’S DOCUDRAMA THE BLUE DANUBE (1965)

100%

Gortat J.

Przegląd Zachodni

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2022

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issue 1 (382)

185-202

EN

An der schönen blauen Donau (The Blue Danube), written by Hellmut Andics and Franz Hiesel and directed by John Olden in 1965, may be viewed as a groundbreaking television docudrama in Austria for two reasons. Firstly, it offered a new, hybrid form called ‘docudrama,’ which combined elements of a documentary film with the features of a fiction film. Secondly, in the context of the Austrian culture of remembrance, the film was astonishing in that its narrative boldly dealt with topics considered taboo at a time of an informal consensus between the two major political parties: the ÖVP and the SPÖ as well as their successors, the CSP and the SDAP. In line with this consensus, no mention of the antagonism between the conservatives and socialists during the authoritarian rule of Chancellors Dollfuß and Schuschnigg was made in the public discourse, instead, both parties claimed to have been victims of the Nazi terror (the so called “camp street” myth – Mythos der Lagerstraße). An der schönen blauen Donau significantly infringes this consensus, showing the persecution of socialist activists by the Austrofacist regime and the downplaying of the activity of the underground Nazis in Austria (the so called illegale Nazis). Embedded in the context of the Austrian post-war culture of remembrance, the paper analyses the teleplay’s narrative, paying special attention to selected characters representing three political movements in Austria: the socialists, the conservatives and the Nazis. Film narration analysis is the principal research method applied in the paper. Its last section also examines the reception of the docudrama and its problematic distribution.

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Sebeidentifikace – sebereflexe – sebetematizace Ostravy aneb Inscenační návraty k historii a mentalitě místa

58%

Lazorčáková T.

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

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2015

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vol. 18

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issue 1

32-49

EN

The present paper deals with theatrical productions staged from the half of 1990s in Ostrava, the main topic of which is the self-identification and self-thematization of the city and the region. Author draws the attention to the phenomenon of docudrama and docu-theatre, and stresses the social and theatrological aspects of performing histories and mentalities of Ostrava from 1990s up to now. The methods of (re)constructing the place and its memory on stage are demonstrated on concrete productions, and a preliminary description of the audience’s response is attempted, too.

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The Image of the Czech Past in the Contemporary Docudrama

58%

Merenus A., Lollok M.

Porównania

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2020

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vol. 27

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issue 2

101-125

PL

Artykuł ma na celu uchwycenie, opis i analizę sposobów przenikania materiałów dokumentalnych do struktury, a tym samym również do świata fikcyjnego współczesnych tekstów dramatycznych. Na wybranych przykładach przedstawia kilka typów czeskiego „dokudramatu”, od sztuk o charakterze biograficznym, poprzez tzw. tribunal drama aż po kolaże sceniczne. Wspólnym mianownikiem tych tekstów jest zamiar autora, by wywołać u odbiorcy wrażenie autentyczności, celem zaś nowa interpretacja wydarzeń historycznych, ewentualnie przedstawienie lub rehabilitacja określonej postaci historycznej. Ambicją twórców jest kształtowanie na nowo pamięci zbiorowej i czeskiej tożsamości narodowej w obrębie środkowoeuropejskiej przestrzeni kulturowej.

EN

This study attempts to depict, describe and analyse the intersection of documentary material with the structure and, by extension, the fictional worlds of current drama texts. On the basis of selected examples, it presents several types of Czech docudrama, from biographically-based plays and “tribunal dramas” to stage collages. The common denominator behind these texts is their attempt to create an impression of authenticity among recipients, as well as “faithfulness” to reality. Their main objective is to provide a fresh interpretation of a historical event or to present or rehabilitate particular historical figures and, not least, also to recreate collective memory and the Czech national identity within the framework of the Central European cultural space.

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1 Porównania

1 Przegląd Zachodni

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

1 Gortat J.

1 Lazorčáková T.

1 Lollok M.

1 Merenus A.

1 2022

1 2020

1 2015

AGAINST POLITICAL COMPROMISES – COMING TO TERMS WITH THE AUSTROFASCIST AND NATIONAL SOCIALIST PAST IN JOHN OLDEN’S DOCUDRAMA THE BLUE DANUBE (1965)

Sebeidentifikace – sebereflexe – sebetematizace Ostravy aneb Inscenační návraty k historii a mentalitě místa

The Image of the Czech Past in the Contemporary Docudrama