Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 2

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  DVORAK ANTONIN
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

NEW DIRECTION INTERPRETATION OF THE 19TH CENTURY CZECH OPERA (USING EXAMPLES OF THE PRODUCTIONS OF 'HUBICKA' BY SMOLIK AND 'RUSALKA' BY NEKVASIL IN THE SLOVAK NATIONAL THEATRE OPERA)

100%
Blahynka M.
Slovenské divadlo (Slovak Theatre)
|
2008
|
vol. 56
|
issue 3
345-351
EN
The paper analyzes two production approaches to the interpretation of the 19th century Czech opera: to Smetana's 'Hubicka' (The Kiss, 1876), directed by Pavel Smolik in the Slovak National Theatre Opera, in 2003, and to Dvorak's 'Rusalka' (1901), directed by Jiri Nekvasil in the Slovak National Theatre Opera, in 2005. Both the directors have had a lucky hand in bringing the interpretation of these two operatic pieces up to date using the tools of modern direction theatre in opera. Both productions show a connection between the perception past of these operas and their contemporary interpretation, both production presuppose a critical involvement of the audiences who interpret the stage form on the basis of the perception past of these two operas. The stage forms of 'Hubicka' and 'Rusalka' capitalize on the diversity of relations between the text and their stage forms, thus opening new prospects for other production interpretations.
2

Hudba jako prvek legitimizace české národní kultury v období mezi dvěma světovými válkami

88%
Ruediger R.
Hudební věda (Musicology)
|
2009
|
vol. 46
|
issue 3
261-276
EN
Art music played a vital role as a means for cultural and political legitimization of the young Czechoslovak state. Critics in Germany above all, as members of one of the 'leading musical nations', were allotted a key role - which further complicated already-difficult relations with the country's 'own' Germans. The intelligentsia wished to convey a completely distinctive image of their country as a cultural nation on a high level, as opposed to the stereotypes of rustic backwardness. A composer like Antonin Dvorak was de-emphasized in his own national cultural tradition, because he was dismissed abroad as 'naive' on the basis of the established Slavic stereotype despite his international successes. On the other hand modernism on the musical scene of the Czechoslovak Republic rose to the highest level of recognition among professionals, but achieved no broad effect and thus also could not function as a vehicle for political legitimization.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.