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Czech Puppet Theatre – Tradition, Legend, and Reality: or, is Contemporary Czech Puppet Theatre an Endangered Species?

100%
Malíková N.
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 2
347-383
EN
This article reflects on the current state of Czech puppet theatre, discussing the position of puppet theatre in contemporary Czech society, set against a background of what is an often-overwhelming cultural heritage. The essay uses historical inquiry and rhetorical interrogation to set out before readers some of the thorny problems that need to be solved before a foundation can be established on which the future of Czech puppetry can be based.
2
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Czech Puppet Theatre Dramaturgy as a Specific Phenomenon

100%
Lešková Dolenská K.
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 2
231-276
EN
The article addresses Czech puppet theatre dramaturgy in its historical development from the late eighteenth to the present. Apart from the historical overview, it also analyses recent trends in Czech puppet theatre – an aspect that has not yet been concisely addressed. It also points out opportunities that puppet theatre could explore in future productions.
3
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The Renaissance of Czech Puppetry and the Cinema

75%
Bernátek M.
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 2
135-167
EN
This article discusses the establishment of Czech puppet theatre as an institutional part of modern society in the early 1900s, at a moment of cultural change, known as the ‘Puppetry Renaissance’. Czech puppet theatre changed from a traditional form of folk art to an integral part of Modernism and the Avant-garde; this development took place hand in hand with developments in cinematography, as well as in social institutions and societies. The article demonstrates the ways in which modern Czech puppet theatre defined itself not only in contrast to live actors’ theatre, but also as an alternative to the new mass culture form that enjoyed a boom simultaneously with it: the cinema.
4
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Surreally Human: Jan Švankmajer’s World of Self-Destructive Puppets

75%
Chryssouli G.
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 2
303-328
EN
This article explores the relation of Jan Švankmajer with the Czech puppet tradition, viewing his puppetry through a Surrealist prism and investigating the role of puppets in his work, as simultaneously inert objects and animated creatures that cross the dichotomous line between life and death, thereby raising questions in relation to human nature and identity. Jan Švankmajer is a leading Czech filmmaker and artist and a self-proclaimed militant surrealist. His work is characterised by a diversity of means and techniques, these include: live-action, puppets, clay modelling, traditional drawn animation, object collage, stop-frame special effects and stop-motion animation. Švankmajer’s fascination with the corporeality of an animated entity has been developed through a deep and strong affinity with traditional Czech theatre. His own professional background in the puppet theatres of Prague, the Theatre of Masks, the Black Theatre and the Laterna Magika Puppet Theatre has significantly influenced his work. Švankmajer’s work is the bearer of a magic function, revealing the marvellous through mystification. Švankmajer, like the alchemists of old, is continually distilling the water of his experiences so that through this process, the heavy water of knowledge, essential for the transmutation of life, begins to flow.
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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)
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2015
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vol. 18
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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.
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)
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2015
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vol. 18
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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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Josef Skupa: the Birth of a Modern Artist

63%
Jirásek P.
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 2
168-230
EN
Josef Skupa was a leading avant-garde artist and puppet player with a background in visual arts and scenography. The article documents his life from his early cabaret experiments in Prague and his scenographic designs in Pilsen, through the innovative activities of his theatre company, to his international acclaim (which lasted from the late 1920s to the 1950s). The origin of Skupa’s famous puppet double act: Spejbl and Hurvínek is addressed, alongside an account of the development of the puppets as artefacts and as dramatic characters that defined a key era of Czech puppet theatre and established a style known throughout Europe as ‘The Skupa School’.
8
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Puppets, Dogs, and Vegetarian Angels: Ecocriticism in Jakub Krofta’s Polish Productions

63%
Lech K.
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 2
277-302
EN
This article explores the work of Czech theatre director Jakub Krofta in the context of ecocriticism. This discussion focuses on Krofta’s two productions directed for Polish puppetry theatres and aimed at young audiences: Daszeńka (Teatr Lalka, Warsaw, 2011), based on Karel Čapek’s book, and Pacan – historia o miłości (Pacan – a story about love; Wrocławski Teatr Lalek, Wrocław, 2012). My analysis is framed by Greta Gaard’s theories on ecopedagogy (GAARD 2009) and Paul Piris’s discussion on co-presence between the puppeteer and the puppet (PIRIS 2014). Building on their work, and combining it with performance analyses of both productions, this article explores how Krofta manages interactive relationships between performers, puppets, and spectators so as to engage his audiences with global discussions relating to human/environment relations. Krofta’s works achieve this through their exploration of the problematic status of animals in the contemporary world, invitation the renegotiation of relations between humans and animals, and facilitation of various degrees of engagement for both children and adults.
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