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1

PRODUCTIONS OF GREEK AND ROMAN DRAMA ON THE CZECH STAGE 2001-2009

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Cadkova D., Sarkissian A.
Eirene. Studia Graeca et Latina
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2009
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vol. 45
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issue I-II
73-102
EN
The inventory provided by this paper is related to the list of Productions of Greek and Roman Drama on the Czech Stage by Eva Stehlikova, published in Eirene 2001, and completes it adding the productions staged in the following years. Several noteworthy productions were created between 2001 and 2009, each of them forming its own conception - some stressing the poetry of the text (as e.g. Phaedra, 2006), some accentuating political message contained in the drama (as e.g. Oresteia, 2005-2006), and yet other remarkable approaches were found to staging of Classical Drama.
2
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NAŠI NAŠI FURIANTI PETRA LÉBLA

100%
Pokorný V.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
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issue 2
147 - 164
EN
This study draws on a doctoral thesis dealing with a series of postmodern productions of a Czech naturalist rural drama, which were put on the stage at the turn of the twentieth and twenty-first centuries. In 1994 Petr Lébl, a prominent Czech post-modern director, undertook the direction of Ladislav Stroupežnický’s classic Czech realist drama Naši furianti (Our Swagerers) from 1887. A distinct feature of Lébl’s directorial work is visual opulence. Also in this case, he packed the small stage of the Divadlo Na zábradlí theatre with dozens of actors and a large number of props, mixing elements of Czech, Spanish, Jewish and other national folklores in a pell-mell manner. In order to point out how devoid of any real substance national symbols are, he presented his characters in the style of Czech fairy tales – the just shoemaker Habršperk as a devil, the deceitful tailor Fiala as a water goblin and the brave army veteran Bláha as the Knight of Blaník. In addition, the role of the village teacher was performed by a black person, and a blind person played the part of a village scribe and law expert. Lébl thus took an ironic stance towards the tradition of realist staging of Stroupežnický’s drama by the National Theatre and indirectly commented on the chaos in values that had set in after the fall of the communist totalitarian rule in 1989 and with the onset of market economy practices, unrestrained by moral considerations, in Czech society.
3

Aristophanes’s Entry onto the Contemporary Czech Stage between the Wars and during World War II

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Sipova P.
Eirene. Studia Graeca et Latina
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2009
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vol. 45
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issue I-II
34-48
EN
Since the end of the Second World War, well over eighty performances of Aristophanes's plays have been staged, meaning that ancient Greek comedy has become a permanent part of the Czech theatrical repertory. Over the course of more than eighty years, Aristophanes's plays have been staged almost every year, with four performances in different locations in the Republic being unexceptional. Lysistrata alone has been performed at least forty-five times since the end of the war, a figure comparable with performances of Shakespeare's Midsummer Night's Dream. In the interwar period and during the Second World War the name of Aristophanes was associated with many directorial personalities, among whom Karel Capek and Jiri Frejka excelled, together with significant artists like Josef Capek and Antonin Heythum. Aristophanes comedy in translation by Ferdinand Stiebitz became the new novel material and a source of opportunities for the emerging generation of Czech avant-garde theatre; moreover, the stage performances on several occasions served as a pacifist manifesto (Frejka, Podhorsky) in difficult times of impending fascism.
4

THE METAMORPHOSES OF OEDIPUS THE KING

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Stehlikova E.
Eirene. Studia Graeca et Latina
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2009
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vol. 45
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issue I-II
49-55
EN
The staging of Sophocles' tragedy Oedipus the King has a long tradition on the Czech stage. It was staged for the first time in 1898, and up today information about 60 productions has been collated in the database of Czech productions of ancient plays (see www.olympos.cz). In the last few years, the figure of Oedipus has gained new features in Czech theatres (especially in Prague). The turnaround began, in particular, in Miroslav Krobot's production at the National Theatre (premiere 22 February 1996). Another untypical Oedipus was staged at Prague's Divadlo pod Palmovkou (Under Palmovka Theater) on 22 May 2002 under the directorship of Lucie Belohradska. A further level in a certain disparaging of the figure of Oedipus was introduced by Jan Novotny's production at the Strasnicky Theater (premiere 22 June 2008). In these three cases we are able to see a gradual degradation of the complex figure of Oedipus, and perhaps we are not far from the truth when we say that Oedipus is being gradually demythologized on the Prague stage and is drawing nearer to today's unflattering form of political representatives with all their arrogance and incompetence.
5

PRODUCTION OF SENECA'S PHAEDRA IN PRAGUE

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Cadkova D.
Eirene. Studia Graeca et Latina
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2009
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vol. 45
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issue I-II
69-72
EN
Although the performance of Seneca's tragedies basically has no great tradition in the Czech Republic and Seneca is unknown to the general public as an author of tragedies, the team of Divadlo v Dlouhe decided to present a performance of his Phaedra. Thus a remarkable, even artistic performance was created, based on highly stylized movements and declamations, emphasizing the poetic nature of the text and experimenting with the theatrical space. The article provides a description of this performance.
6
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FRAGILE STAGE: PUBLIC SERVICE IN THEATRE AS A TRACK TO “THE GOOD LIFE”

100%
Motal J.
Slovenské divadlo (Slovak Theatre)
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2023
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vol. 71
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issue 3
293 - 307
EN
This article explores the concept of public service and public interest. Drawing on the philosophies of Martha Nussbaum, Virginia Held, and Nancy Fraser, the presented text contests traditional political-economic and cultivation theories that emphasize efficiency, performance, and perfection. Instead, it posits an approach that integrates human vulnerability as a valuable aspect of the “good life,” thereby fostering a richer understanding of public interest. It criticises the exclusive and perfection-focused narratives, proposing inclusive “counter publics” that recognize and value diverse community interests. The 2018 performance of Frljić’s “Our Violence, Your Violence” in Brno, CZ provides a tangible illustration of these concepts, showcasing how theatre can function as a democratic platform for dialogue or fail in this mission due to paternalism. The article concludes with a call to reimagine public service in theatre to encourage democratic decision-making, appreciate human vulnerabilities, and foster dialogue and inclusion.
7
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ON THE CONCEPT OF THE 'PROLETARIAN THEATRE' IN THE FIRST CZECHOSLOVAK REPUBLIC (K idei 'proletarskeho' divadla v prvej republike) Source: Slovenske divadlo (Slovak Theatre)

88%
Kret A.
Slovenské divadlo (Slovak Theatre)
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2010
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vol. 58
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issue 1
65-68
EN
Although marginally, the phenomenon of the 'proletarian theatre' affected Slovak theatre towards the close of the 19th and in the first half of the 20th centuries. These ideas were imported to Slovak culture largely from the Czech theatre context, where there was an active grouping of left-oriented intellectuals called Devetsil. Their manifesto was built on the post-revolutionary forms of agitprop theatre proliferating in Russia. Anton Kret, theatrical advisor, translator, and theatrical historian, summarises the knowledge of the Slovak dramatic science on the presence of this phenomenon in Slovak theatre history and compares it with the development in the related Czech culture context.
8

OEDIPUS IN THE VILLAGE. THE FIRST OUTDOOR PERFORMANCE OF A GREEK TRAGEDY IN BOHEMIA

88%
Stehlikova E.
Eirene. Studia Graeca et Latina
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2009
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vol. 45
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issue I-II
56-68
EN
The first Czech outdoor performance of a Greek tragedy (Oedipus the King) was produced by Vaclav Krska, in the South Bohemian village in 1936. There was no permanent natural theatre with a solid stage construction and auditorium there. The actors (and their friends) built a corresponding venue for each performance in the forest. Krska's actors were recruited from among the local villagers, and naturally there were amateurs with great theatre experience. Some of them had been a part of the company for many years, they had been systematically educated, and collaboration with professionals meant a lot to them (the role of Oedipus was played by Eduard Kohout, star of the National theatre). Krska's interpretation of the play was more or less Winckelman-like. The performance, which was attended by spectators from the distant surroundings, was very successful. Prestigious actors from Prague even came to the rehearsal and the premiere was attended by a well-known journalist from Prague who wrote about the performance for a national newspaper.
9
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ON THE PHENOMENOLOGY OF AN ACTOR'S FACE ((K fenomenologii tvare herca)

75%
Vinar J.
Slovenské divadlo (Slovak Theatre)
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2010
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vol. 58
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issue 1
47-56
EN
The author, reputable Czech theatre theoretician, produced a comprehensive and for theatre important monograph on the role of an actor's work with his/her own face in the rendition of a dramatic figure and, hence, the function of the actor's face in the process (not only strictly limited to facial expressions) of change of an actor to a dramatic figure. The author examines this process from the different angles and traces back the less-known areas of perception and the use of the face in the theatre cultures of the Far East. The paper focuses on the elucidation of the presence of physiognomy in ancient Chinese culture and in ancient theatre. It is concluded by the author's statement that Roman pragmatism, certain indifference to the metaphysical problems of early philosophy, was outweighed by an interest in concrete specificities, in the present or about to begin time of the foreseeable future. The Roman art of divination, which interpreted omens, both seen and heard, and built on the art of 'reading from the face', served the above purpose. Here the Romans availed the classical knowledge of Greek anthropometry and physiognomy and given principles of corporeal beauty.
10
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WHERE IS THE SPEECH THAT MATTERS? ON THE SILENCE OF THE CZECH THEATRE PROFESSIONALS IN A CRISIS

63%
Motal J.
Slovenské divadlo (Slovak Theatre)
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2020
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vol. 68
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issue 3
276 – 292
EN
The essay presents the thesis that despite their activist tradition, Czech theatres abandoned any social criticism during the COVID-19 pandemic because they were unable to speak publicly about the structural conditions of the crisis (over-tourism, mobility, etc.) and possibilities for change. The author argues that it is because the language of theatre professionals is nowadays shallow and clichéd and serves rather as a strategy to secure the positions in the artistic field than the true speech capable of addressing the public. This situation is interpreted in terms of neoliberalism/capitalist realism (Mark Fisher) producing the pragmatic language incapable of imagination and transformation. The intellectuals’ speech of transcendentals (detached from the reality) is contrasted with true speech (Martin Buber, François Laruelle) originating in immanence. The artists are depicted as the keepers of personal, archetypal language capable of producing universal (“terrestrial” – Bruno Latour) images of utopia. This is discussed especially in the context of the environmental crisis.
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