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1

Jan Patočka a kritická edice „J. A. Comenii Opera omnia“

100%
Steiner M.
Filosofický časopis (Philosophical Journal)
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2007
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vol. 55
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issue 3
409-411
EN
In the fifties and sixties the name of Jan Patocka was to be found amongst the editors and translators of Comenius' Latin writings. His planned collaboration with the editors of the collected publication of 'J. A. Comenii Opera omnia' - the Work of J. A. Comenius was however stopped for political reasons, and his report recommending the publication of the 14th volume of this edition could not be used in the beginning of the seventies since giving his name as 'specialist editor' was not thought desirable. In the second half of the seventies his name was no longer allowed to even appear in the index of names.
2

CHINESE GHOST THEATRE

100%
Steiner M.
Kultura i Społeczeństwo
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2007
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vol. 51
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issue 4
157-172
EN
Around five millennia ago the Chinese developed spectacular rituals concerning afterlife beliefs. Funerals could always been perceived as theatre-like cultural performances. The ancestor cult is a base for Chinese morality. Theatrical performances are one of the means of ghosts worship. Until recently the performance of mourning could have been considered a social spectacle.The classical music theatre of China (xiqu) constitutes a vivid illustration of beliefs in constant commune with souls of the dead. Traditional dramatic literature provides many examples of female-ghost characters. They are usually protagonists, who put a moral thesis forward and convey the educational message of the theatre piece. Actors' make-up as well as theatre puppets have presumably funeral origins. Afterlife beliefs could be regarded as one of the sources of Chinese theatre.
3

THEATRICAL PERFORMANCES OF THE KHMER PEOPLE: BETWEEN ROYAL ENTERTAINMENT AND RITUAL SACRIFICE

100%
Steiner M.
Kultura i Społeczeństwo
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2005
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vol. 49
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issue 4
129-145
EN
Classical Khmer ballet (lakhon kbach boran) began at the royal court in the latter part of the first millennium (probably around 802 AD), and continues to be performed in Cambodia. The ballet is dominated by women, while men are the sole performers in another form of traditional dramatic dance, known as 'lakhon khol'. Although this masked theatre also functioned as 'royal theatre', its popular, ritual version is more widespread. 'Lakhon bassac', the newest genre of the traditional Khmer theatre in what is today Cambodia, has its origins in the early twentieth century. It is a popular form of musical drama that shows considerable Vietnamese influence. In Cambodia, two types of shadow theatres exist: 'ayang', which is a theatre of small, individual figures, whose origins probably lie with an Indonesian-Malyasian or southern Thai model, and 'sbaek thom', which uses large figures and would appear to be a type of theatre unique to Cambodia.
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