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1

A World of Many Colours: yaksagāna rangabhūmi

100%
Binder K.
Cracow Indological Studies
|
2016
|
vol. 18: Cosmopolitanism andRegionalism in Indian Cultural Dynamics
3-21
EN
The present paper examines the varied and mutual influences between a local form of South Indian dance drama—the yakṣagāna dance-drama of coastal Karnataka—and forms of local ritual performances. A short description of yakṣagāna and its history is followed by a definition of the cultural spheres represented by the languages of Sanskrit, Kannada and Tulu. These spheres form the cultural configuration for mutual interaction. The paper offers exploratory discussions of “localization” as a textual strategy in yakṣagāna and the possible influences between the dance drama and the nāgamaṇḍala and būta rituals.
2

Mask archetype in contemporary scenic image

88%
Ovečka J.
Human Affairs
|
2013
|
vol. 23
|
issue 1
75-80
EN
The author takes the contemporary theatre performance of Mátohy [The Spooks] and maps out the use of original folk theatre masks in a new theatrical context. He describes and characterizes the changes that occur as a consequence of transposing folk masks from their traditional environment to the contemporary stage.
3

Slaying of the Dragon: Traditional Summer Festival in the City of Furth im Wald in Upper Palatinate

75%
Ulrychová M.
Národopisná revue (Journal of Ethnology)
|
2018
|
vol. 28
|
issue 1
28 - 40
EN
The article deals with the development of a city festival in the Bavarian city of Furth im Wald, whose part also the Drachenstich (Slaying of the Dragon) play is. The play has evolved based on tableaus depicting the fight between Saint George and the Dragon, which used to be part of liturgical Corpus Christi procession. The first mentions come from the 16th century. In the 19th century, it was the German writers Alexander Schöppner and Maximilian Schmidt, and the Czech writer Božena Němcová who paid attention to the Slaying of the Dragon play. After repeated restrictions by the Church, which accumulated more and more from the 18th century, the scene got profane in 1887 – local amateur actors performed a new and longer text written by the teacher Heinrich Schmidt. He extended dialogs significantly and brought new characters to the play. His version survived until 1953 when Josef Martin Bauer replaced it by a new one, the story of which was set in the period of Hussite wars. The latest version, which was put on the stage in 2007 for the first time, was written by the professional theatre person Alexander Etzel-Ragusa, who also directs the play. The article observes the play’s development from a simple dramatic start to the present 80-minute-long performance, which is the principal axis of the two-week-long city festival. It pays attention to accompanying events, and – by means of a common characteristic of the location – it tries to find out the social conditions that have allowed this traditional phenomenon to be maintained for many years.
4
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Puppet Cabaret: Visual Idioms, Performance Technologies and the Poetics of Czech Special Puppets in a European Context 1850–1950 : (From Artistic Automata through Trick and Variety Puppets, to Puppet Cabaret and Variety Show Clowns and Acrobats)

75%
Jirásková M., Jirásek P.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2015
|
vol. 18
|
issue 2
70-134
EN
This article brings an analysis of the history and development of variety and trick puppets in the Czech lands between 1850 and 1950 together with a discussion of the extant artefacts, with a particular focus on the mechanics of these special puppets and their innovations during the Modernist decades in a European context. Variety and trick puppets were also significant components of the traditional marionettists’ productions and complement, and the article also considers the extant ephemera surrounding that tradition of performance.
5
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Pionierzy retrogardy. Zespół Handa Gote i jego droga tam i z powrotem

75%
Lukáš J., Joanna D.
Didaskalia. Gazeta Teatralna
|
2020
|
issue 156
1-27
EN
The text portrays the Prague ensemble, whose theatrical works are only one part of its vibrant post-dramatic activity. Handa Gote has been operating on the Czech theatre scene since 2005. It is one of the most important groups that developed their theatrical language drawing inspiration not only from surrealists, but also from anthropological research, folk theatre, traditional theatre forms that are linked with the principles of DIY, technological theatre, puppet theatre. They extend their experiments into music, radio, exhibition projects and radically subversive public space events. This cultivation of artistic universality, group work, post-dramatic and post-spectacular attitudes characterize the foundations of this unique group, which also focuses on object, puppet, dance and multimedia theatre.
6
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The Enigmatic Puppets of Important Czech Marionettists, the Flachs

63%
Blecha J.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2015
|
vol. 18
|
issue 2
35-69
EN
This article brings summative information in relation to the Flachs, one of the leading families of traditional Czech folk marionettists. It focuses on the last three generations, from the mid-nineteenth century to the decline of itinerant family marionette troupes in the 1950s. The article also analyses extant puppets made and used by the family and their distinctive carving techniques.
7
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Otakar Zich and Prague's 'Semiotic Stage' : reading performance avant la lettre

51%
Ambros V.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2020
|
vol. 23
|
issue 1
13-29
EN
Zich's unique views of dramatic work initiated a performance theory avant la lettre. It was, however, as I argue a collective effort of Prague School theorists, whose polemics with Zich and among each other recognized the inherent semiotic potential of Zich's work. Often related to contemporary stage experiments, Zich's ideas explored topics like the mobility and hierarchy of signs, their respective functions, and the position of dramatic text, the concept of the 'actor's figure'. Zich and the discussions he incited are also useful for ideas of transitions between theatre and ceremony that enrich the current approach to the audience, space, and characters on the contemporary stage.
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