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Soudní proces jako rituál?

100%
Langhans M.
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 1
33-52
EN
The paper ventures into the common characteristics of the Law and Theatre. The aim of the author is to show how a court session employs and makes use of the principles of theatricality, and to defend the hypothesis that a criminal court trial, in particular, bears manifold similarities to a ritual. Thus, a criminal court session can be explored by similar methodologic tools as the latter, which understand theatre in broader, socio-anthropologic sense as a cultural model.
CS
Studie se zabývá styčnými body práva a teatrologie. Jeho cílem je poukázat na to, že soudní jednání pracuje s principy performativity, a obhájit tezi, že zejména soudní jednání v trestních věcech je svým původem a mechanismem působení příbuzné s rituálem a lze je tedy zkoumat za pomoci obdobné metodologie, založené na širším sociologicko-teatrologickém pojetí divadla jako kulturního modelu.
2
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Teatralita veřejných událostí - uvedení do problematiky

100%
Musilová M.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2014
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vol. 17
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issue 1
9-24
EN
The present paper introduces definitions of the key concepts that frame the research on the theatricality of public events held at the Department of Theatre Studies, Faculty of Arts, Masaryk University, since 2010. The overview presents concepts such as theatricality, performance, and symbolic aspects of acting as well as the concept of "theatre as a cultural model" (i.e. theatre in the broad sense of meaning). Present research allows for the symbolic acts to be perceived as spontaneous; it also concentrates on the way in which acting in everyday life, and during public events is being made prominent by theatrical means (e.g. set, costumes, expressivity). More generally, exploring the limits of theatricality enables theatre scholars to open up their field for impulses from anthropology, sociology, and culturology, hence approach their subject of inquiry in a more interdisciplinary way.
3
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Rozhlasová hra a/nebo rozhlasová inscenace?: poznámky k teorii "slovesné” rozhlasové tvorby

100%
Jungmannová L.
Česká literatura (Czech Literature)
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2021
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vol. 69
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issue 4
453-476
EN
The objective of this study is to theoretically define and distinguish between a radio play and radio production. Hence the first part of the paper characterizes the individual components of a radio production (speech, music, sound and silence), its performativity and its basic building block — the acoustic situation arising out of the interaction between the acting and the sound production. In the next section the radio production is considered as a sound composition (by theoretical passages on montage and time and space phenomena) and finally the historical roots of this radio work are also referred to. The second half of the study focuses on the radio play, which it endeavours to analyse primarily on the basis of its relationship to the theatre play. The study then goes on to examine both the structural elements and the types of radio plays and the secondary processes involved in the creation of this literary work: adaptation and dramatization.
4
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Několik poznámek k teatralitě

80%
Poláčková E.
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 1
53-70
EN
The aim of the study is to argue that, while researching into medieval theatre, one need not to overlook the non-theatrical situations as well, such as royal entry, liturgy, etc. As the majority was, even at the peak of the Middle Ages, illiterate, performance was a convenient medium to deliver meanings, ideologies and policies. The success of those institutions as the Church or the King, thus, highly depended on them mastering such theatrical devices as acting, stage design, scripting the event, etc. Concrete examples of these strategies are illustrated on the description of Good Friday liturgy and royal coronation.
CS
Studie ukazuje, že při výzkumu středověkého divadla je třeba se zabývat i situacemi, jež jsou primárně nedivadelní (např. panovnický vjezd, liturgie nebo univerzitní výuka). Protože převážná většina obyvatel středověké Evropy byla ještě ve vrcholném středověku negramotná, performance – tedy zdivadelněná situace – představuje důležité komunikační médium. Úspěšnost komunikačních strategií církve, panovnické moci ad. tak do velké míry závisela na úspěšném ovládnutí divadelních prvků, jako je herecké jednání, výprava, scénář události atd. Na příkladu velkopáteční liturgie a části korunovačního rituálu jsou ukázány konkrétní způsoby využití divadelních prvků ve středověkých kulturních performancích.
5
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„Krev k hrdlu stoupá, s mým se mísí slovem“: lidské mimo lidskost a poetika nesnesitelného K válečné poezii Jana Zahradníčka

80%
Vojvodík J., Wiendl J.
Slovo a smysl - Word & Sense
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2016
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vol. 13
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issue 25
30-61
EN
The period of the German occupation, the ‘Böhmen und Mähren’ Protectorate and World War II constitutes a specific cultural, social, intellectual, as well as emotional and affective ’space’ of confrontation with extreme states and experiences — which are then variously articulated and shapes by art, as well as reflected in art theory and philosophy of art. The current debate on the crisis of humanism and the newly aroused theoretical interest in anthropological, philosophical and aesthetic phenomena such as affectivity, pathos, and the performativity and mediality of emotions and affects, puts into a new light also the issue of the relationship between art and violence in Czech art, and in particular poetry, of the wartime period. Our main question in this context is: How should one explain that even amongst the horrors of war, occupation, and brutal violence, in confrontation with inhumanity, cruelty and suffering, highly impressive aesthetic works are created? Can the unimaginable be represented? The authors seek to provide at least a partial answer by presenting an analysis of the wartime poetry of Jan Zahradníček from his Korouhve, especially of his Žalm roku dvaačtyřicátého (Psalm of ’42).
6
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Body suspension  : performativita bolesti

71%
Kubart T.
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 1
113-132
EN
In the study the author strives to present the topic of body suspension to wide professional Czech public, to which it has been practically unknown, with regard to methodology of theatre and performance studies (Erika Fischer-Lichte, Judith Butler). The phenomenon bears a number of features interesting especially from the perspective of Theatre and Performance Studies, Anthropology, Ethnology, and Culturology. The study is supposed to attract interest of professional public to this complex phenomenon, presenting it with help of foreign secondary sources and the author's own research of Czech and Slovak body suspension communities.
CS
Ve studii "Body suspension: performativita bolesti" se pokouším téma tělesného zavěšování (body suspension) předestřít v nepříliš problematizované podobě co nejširší odborné čtenářské obci, s ohledem na vlastní východiska, jež pramení především v teatrologii a dílčích otázkách teatrality a performativity (Fischer-Lichte, Judith Butler). V českém prostředí dosud odborně nereflektované téma vykazuje velmi zajímavé znaky, jež by měly upoutat každého divadelního vědce, antropologa, etnologa či kulturologa. Kontext a vzájemné souvislosti jednotlivostí fenoménu body suspension jsou natolik komplexní, že si jistě zasluhují první akademické texty. Má studie je kompilátem základních informačních zdrojů a vlastního výzkumu v českých a slovenských komunitách zabývajících se body suspension.
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