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EB

EB

ONLINE

1. elektronické vydání

[Praha] : Karolinum, 2020

1 online zdroj (320 stran)

ISBN 978-80-246-3922-2 (online ; pdf)

ISBN 978-80-246-3953-6 (print)

The motto Národ sobě – “From the Nation to Itself” – inscribed over the proscenium arch of Prague’s National Theatre symbolizes the importance theatre holds for the Czechs. During the National Awakening of the 19th century, theatre took the place of politics, becoming an instrument of national identity in the hands of the revivalists. In what was then part of a German-speaking empire, the Czechs devised a complex and evocative theatre language made up of allegory, allusion, juxtaposition, games, wordplay, legend, history, illusion and music. A sophisticated avant-garde theatre flowered in Czechoslovakia between the wars, and became a symbol of independence during the Nazi occupation. It survived Socialist Realism and Stalinism to blossom again in the “Golden Sixties” when Prague became “the theatre capital of Europe” (Kenneth Tynan) and a generation of theatre and film directors (Radok, Grossman, Schorm) and playwrights (Havel, Kundera, Topol) were at the forefront of the Prague Spring. Reprisals took place after the 1968 Soviet invasion when, under “normalization,” hardline Communists tried to silence the voices of the ‘60s; thousands were forced into internal and external emigration. The theatre culture, however, flexible and experienced from previous repression, again provided a basis of opposition to totalitarianism. For two decades it operated in the provisional spaces of culture houses, studios, gymnasiums, bars, trade union halls, art galleries and living rooms. Strategies were devised and implemented to bring freedom back to the theatre and society. A strong sense of justice and ethics intensified the mutual commitment of theatres and audiences, leading the way to the Velvet Revolution of 1989 and the installation of a playwright as President..

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CONTENTS // LIST OF ILLUSTRATIONS / 7 PREFACE / 9 INTRODUCTION / 13 PROLOGUE / 21 // I BOHEMIA RESURGENT / 24 National Awakening / 24 National Theatre / 32 // Arenas and Tingle Tangle, Cafés Chantants, and Cabaret / 42 Turn of the Century / 47 // II independence: THE founding and fall of the first REPUBLIC / 51 In the New Republic / 51 // DevRtsil and the Avant-Garde / 56 “The Daring Threesome”: Honzl, Frejka, E. F. Burian / 62 Jindrich Honzl and the Dedrasbor / 62 Jirí Frejka and Constructivism / 63 Honzl, Frejka, and the Liberated Theatre / 65 Frejka and the Theatre Dada / 67 E. F. Burian and the Voiceband / 68 Voskovec, Werich, and the Liberated Theatre / 69 Jaroslav Ježek and the Jazz Revue / 72 The Turn of the Decade / 73 The Prague Structuralists / 75 Frejka at the National Theatre / 76 E. F. Burian and Décko / 79 The Fettered Theatre / 84 // HI UNDER THE PROTECTORATE / 87 // E. F. Burian and the Gestapo / 89 // The Little Theatre for 99 and Occupied Prague / 92 // Terezín and the Concentration Camps / 97 // IV LIBERATION, VICTORIOUS FEBRUARY, AND WHAT BECAME OF THE AVANT-GARDE / 99 // Brief Window: 1945-1948 / 99 Socialist Realism /107 // The Daring Threesome and the Thief of Happiness / ? ? After Stalin / us // V THE GOLDEN SIXTIES / 121 Spring Awakening /121 // Akord Club, Reduta, and the Text-Appeal /121 Otomar Krejca at the National Theatre /127 Laterna magika / 1?6 // The Theatre on the Balustrade /137 // Founding of the Theatre on the Balustrade /137 Ivan

Vyskocil at the Theatre on the Balustrade /147 Jan Grossman at the Theatre on the Balustrade /149 No Heroes Live in Thebes with Otomar Krejca / iss The Invention of the Grenoble /156 Václav Havel’s The Garden Party /158 Ubu Roi, Beckett, and Ionesco /162 Havel’s The Memorandum /166 Grossman’s The Trial, and the End of an Era /169 The State Theatre Studio (Státní divadelní studio) and Other Small Stages /176 Origin of the State Theatre Studio /176 Suchý, Šlitr, and Semafor / 177 Paravan /184 // The Drama Club (Cinoherní klub) /185 Maringotka /189 // The Theatre of Jára da Cimrman / i9i Krejca at the Theatre Beyond the Gate /193 Rokoko /196 Viola /197 Orfeus /199 // Evening Brno (Vecerní Brno) / 200 1968 / 201 // VI “NORMALISATION” / 203 // The Theatre on the Balustrade and What Became of Jan Grossman / 209 The Theatre Beyond the Gate and What Became of Otomar Krejca / 213 The Fates of Machácek, Radok, and Schorm / 215 Semafor, Drama Club, and the End of the State Theatre Studio / 218 Václav Havel, Charter 77, and the Anti-Charter / 220 Irregular Dramaturgy / 223 // Theatre [Goose] on a String / 230 HaDivadlo (Theatre of the Haná Region) / 241 Between Dog and Wolf / 242 // VII THE THEATRE AND THE VELVET REVOLUTION / 249 DRAMATIS PERSONAE / 263 // TITLES OF CZECH AND SLOVAK PLAYS, OPERAS AND FILMS / 293 SELECT BIBLIOGRAPHY / 297 NOTES / 304 INDEX / 312