The History of Czech Theatre 1

Display Schedule

Subject guarantor

Zuzana SÍLOVÁ, Jaroslav VOSTRÝ

Name of lecturer(s)

Pavel BÁR, Jana CINDLEROVÁ, Jan CÍSAŘ, Zuzana SÍLOVÁ, Jaroslav VOSTRÝ

Learning outcomes of the course unit

The course aim is a student familiarity with the role and development of theatre in modern Czech culture which allows them to create an idea of how make their own potential story in the contemporary story of Czech theatre; in other words; it is, in the perspective of their future professional activity, to help make the story of theatre a part of Czech modern culture of their own story.

• Provide Drama Theatre Dept. acting, directing and dramaturgy students an image of the fundamental tendencies of theatre in the context of the story of Czech culture.
• Provide a basic bearing in the covered tendencies, where in presentations, it is not only a historiographic process from one topic identical to the relevant historical period but a glimpse into the „overall“ development of Czech drama, more or less, in the discussion of each topic.
• Presentation of individual tendencies of Czech drama theatre and its conflicts as open events where also as important as facts are the questions which arise from them.
• Presentation and analysis of bases or subjects corresponding to various tendencies in Czech drama theatre.

Mode of study

Lextue linked to pra proseminar.

A combination of instructor presentation with contributions by students , discussing those figures, respectively (in particuar direction/dramaturgy students) tendencies which are or may be interesting to them. Contributions come from independent study of selected and/or instructor recommended (from a fundamental perspective, supplementary) literature including commemorative books.

Prerequisites and co-requisites

Successful completion of the 1 year of study.

Course contents

Individual topics of the series are selected from the perspective (urgent) needs of the Drama Theatre Dept (and Czech Drama and acting), but also anchors the series from the systematically developed concept. This concept and concrete topics are based on long-term research done by experienced instructors at the Institute of Set Design Theory; interim results of this research are contained in publications (see Recommened Literature).

Winter Semester 2018/2019:

1. Theatre and formation of the modern Czech people.
2. Rennaisance of theatre between mime and drama and the mime tradition in the Czech Republic.
3. V.K. Klicpera between enlightenment and comedy.
4. J.K. Tyl and Czech theatre between Biedermeier and the failed revolution.
5. Development of Language and development of theatre.
6. Provisional theatre and Czech drama in the shadow of Czech opera.
7. Two types of female acting: Eliška Pešková and Otýlie Sklenářová Malá.
8. From Kolár to Vrchlicky: location of restoration of the world.
9. Jindřich Mošna and Czech acting between clowning and dramatic interaction.
10. The National Theatre between representation and reality.
11. Kvapil and Czech theatre between modernism and tradition.

Recommended or required reading

Recommended Lierature:

Císař, J. Přehled dějin českého divadla, Praha 2006, 2009

Jindřich Vodák k historii českého divadla (antologie studijních textů, eds. Vostrý / Sílová), Praha 2017

Vostrý, J. / Sílová, Z. České drama a český hrdina, Praha 2017 (selected chapters)

Sílová, Z. Komedianti na české scéně, Praha 2013 (selected chapters)

Plays:

V. K. Klicpera (výběr 2 ze 4): Veselohra na mostě, Rohovín čtverrohý, Hadrián z Římsů, Divotvorný klobouk;

J. K. Tyl: Krvavé křtiny, (výběr 1 ze 3:) Strakonický dudák, Tvrdohlavá žena, Paličova dcera;

Jaroslav Vrchlický: Noc na Karlštejně, Trilogie o Hippodamii;

Julius Zeyer: Radúz a Mahulena;

Ladislav Stroupežnický: Naši furianti;

Gabriela Preissová: Gazdina roba nebo Její pastorkyňa;

Bratři Mrštíkové: Maryša;

Alois Jirásek (výběr 2 ze 4): Vojnarka, Otec, Jan Hus, Lucerna

+ or according to one's own interests, other plays mentioned in lecture.

Additional recommended literature according to one's own considerations related to the topics covered in the Winter semester 2018/2019:

Studies and monographs:

Macura, V. „Paradox obrozenského divadla“, in Divadlo v české kultuře 19. století, Praha 1985: 36–43

Stich, A. „Český jazyk a dramatický text v 19. století“, in Divadlo v české kultuře 19. století, Praha 1985: 75–85, přetištěno in Stich, A. Od Karla Havlíčka k Františku Halasovi, Praha 1996: 101–116

Šotek, M. Komedie podle V. K. Klicpery, Praha 2018 (v tisku, v knihovně DAMU od 15. ledna 2019)

Honzl, J. „Hadrián z Římsů na moderním jevišti“, in (týž) K novému významu umění, Praha 1956: 142–144

sb. Josef Kajetán Tyl 1808–1856–2006–2008, Praha 2007

Chválová, L. Žena v divadle Josefa Kajetána Tyla, Praha 2012

Fischer, O. „Činohra v pražských divadlech: Prozatímním, Národním, Městském“, in Československá vlastivěda, VIII. sv. (Umění), Praha 1935: 357–384 (kap. „Prozatímní divadlo, 1862–1883); 385–421 (Národní divadlo za Šuberta, 1883–1900

Pešková, E. „Zápisky české herečky“, 1886, Disk 26 (prosinec 2008): 171–182; Disk 27 (březen 2009): 160–170)

Chválová, L. „Otýlie Sklenářová-Malá: cesta na jeviště“, Disk 35 (březen 2011): 66–80

František Götz, Boj o český divadelní sloh, Praha 1934: 25–39

Kvapil, J. O čem vím, různá vydání (kapitoly podle vlastního výběru)

Scheinpflugová, O. Byla jsem na světě, Praha 1994 (první úplné vydání!): 66–69

Vostrý, J. Zdeněk Štěpánek (Herec a dějiny), Praha 1997: 95–105 (z kap. Ze smíchovských kasáren na Vinohrady) a 106–139 (Cesta ke slávě)

Encyclopedias:

Starší divadlo v českých zemích do konce 18. století (Osobnosti a díla), Praha 2007; Česká činohra 19. a začátku 20. století (Osobnosti), Praha 2015; Česká divadla, Praha 2000; Národní divadlo a jeho předchůdci, Praha 1988

Assessment methods and criteria

Grading based on the submitted course paper on a selected topic

Note

The selected instructor approach is enabled by the concept of the history of Czech theatre as a conflict of tendencies whose form, in the context of the societal and cultural development, changes but which according to the wise judgement of the great Czech art historian Max Dvořák, is never completely lost, „Everything art has created in the historically transparent and related to cultural periods, has never been lost, rather is immanently found in the contents of the whole later development and always repeatedly receives new significance. This applies to individual to motifs and general directions and treatments.“ This is, otherwise, given in the consideration of culture itself of which theatre is a multi-level part. It functions in the as well, not only as art but also as a state sponsored institution and sometimes predominantly for entertainment purposes and as a entreprenurial subject. In its internal structure (and from a certain central perspective, a view and stimulus of the corresponding social and individual (self)staging. From this perspective, it represents a distinctive and important medium, linked particularly through acting and other media creating a stage culture as a fundamentally important field and level of the function of the contemporary society.

Schedule for winter semester 2018/2019:

• Week view
• List

Schedule for summer semester 2018/2019:

The schedule has not yet been prepared

The subject is a part of the following study plans

• Acting for Dramatic Theatre (M.A.) (required subject)
• Directing and Dramaturgy for Dramatic Theatre (B.A.) (required subject)
• Stage Design (B.A.) (required subject)