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During the years between 1956 and 1970 Czech literature and theatre passed through a profoundly creative period, a renaissance or spiritual rebirth following an era of sterility that was the result of the forced imposition of the Stalinist dogma of socialist realism. This study is a first attempt, to define for us the character and originality of this era. This title was first published in 1978.
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 occupat...
With the fall of socialism in Europe, the former East bloc nations experienced a rebirth of nationalism as they struggled to make the difficult transition to a market-based economy and self-governance. The dissolution of Czechoslovakia, in particular, underscored the power of ethnic identity and ancestral loyalties.Hugh Agnew develops the argument that Czechoslovakia's celebrated national revival of the mid-eighteenth century has its intellectual roots in the Enlightenment and defined the nation's character and future development. He describes how intellectuals in eighteenth-century Bohemia and Moravia-the "patriotic intelligentsia"-used their discovery of pre-seventeenth-century history and literature to revive the antiquated Czech vernacular and cultivate a popular ethnic consciousness. Agnew also traces the significance of the intellectual influences of the wider Slavic world whereby Czech intellectuals redefined their ethnic and cultural heritage.Origins of the Czech National Renascence contributes to a renewed interpretation of a crucial period in Czech history.
The story of Czech theatre in the twentieth century involves generations of mesmerizing players and memorable productions. Beyond these artistic considerations, however, lies a larger story: a theatre that has resonated with the intense concerns of its audiences acquires a significance and a force beyond anything created by striking individual talents or random stage hits. Amid the variety of performances during the past hundred years, that basic and provocative reality has been repeatedly demonstrated, as Jarka Burian reveals in his extraordinary history of the dramatic world of Czech theatre. Following a brief historical background, Burian provides a chronological series of perspectives an...
Classical drama on the modern stage as a cultural and political phenomenon is scholarly trailed since the 1950s and 60s and intensified in the last third of the twentieth century. The evidence is being extensively documented, pioneered by Walton (1987) and McDonald (1992) and subsequently developed by collaborative research projects which include published databases. It is clear from the work of these projects that performance of classical drama is a major feature in all types of theatre – avant-garde and experimental, student, international and fringe, epic and classical, commercial, popular and canonical. This means that it is closely intertwined with the politics of locale, environment and geography as well as of language, translation and culture. Each of the essays has a specialised contribution to make. However, the total impact of the whole section will be even greater than the sum of the parts because the authors not only intersect in their discussions of common concerns in modern performance of ancient drama but also provide case studies that will add to the knowledge base and critical acumen of everyone working in the field.