Drama Revue 3/2003
Summary

L. Jungmannová: Unofficial, Independent, Paralel, Alternative, Non-legal, Other, Another, Non-licenced, Samizdat, Inedit, Underground... but Ours

The study tries to deliminate the problematics of Czech unofficial drama in the era of communist totalitarism to depict the researched field. At first the text follows basic specification of this kind of literature - delimination of the subject, definition of its substance, point of view at its position in the frames of given culture and it reflects the problems connected with common and period historiographic grip of the subject (in its indication, classification etc.). The essay also deals with the specificities of the origin and existence of these particular dramatic works (above all illegal duplication, but also the staging), particularly the position of this kind of drama in the context of Czech undeground and samizdat literature. The end of the study is dedicated to the phenomenon of samizdat drama as the strongest stream of Czech unofficial drama of that era.

O. G. Schindler: Spielmen, Jumping Persons and Buffoons (Tabarino, Ganassa & Co., Prague-Paris 1570-72)

The study deals especially with sold day-books of Habsburg Court. This is the basis for the information about Italian actors, artistes and comedians in the emperor's service from the half of 16th century to 1585. In the centre of explanation there are celebrations connected with Prague marriage on 4th May 1570 when daughter of Maximilian II. Anna married (in substitution) Spanish king Philippe II. The description published by Zirfeo (Ordenliche Beschreibung: Des gewaltigen treffenlichen vnd herrlichen Turniers [...] anno 1570 [...], 1570), is completed by details. There were present Giovanni Tabarino, Antonio Soldino, Giovanni Arcangelo, Alberto Naselli- Ganassa and his wife Barbara Flaminia and others in Prague. Italian actors of Prague celebrations are identified also as the participants of other celebrations which were taking place in that time during the royal and princely marriages, sessions of congresses and other similar events in Germany, Austria, Italy and France. There is also analyzed the connection with first performances of commedia dell' arte in Landshut in Bavaria 1568.

J. Dvořák, R. Bahbouh, J. Sýkora: Hamlet as a Map or What Can be the Application of Math Good for in the Analysis of Drama

You need much courage to apply mathematics in theatre art. We suppose that modern ways of maths can show new, till now unthought, of possibilities of interpretations of particular text as the dramatical one. Metodologically there are explained the relations in particular social group in drama. The description of these relations can have many various forms - it is possible to write novel, poem, radio or theatre play, opera, ballet or musical, film or tv-film etc. There shouldn't be surprise that the relations in the group of few elements is possible to describe in the form of tables (charts) in their interaction. For the socio-metric analysis we have choosen artificial social situation which is presented in drama - Shakespeare's Hamlet - and demonstrated the relations among the persons in drama in graphic socio-map. It represents the image of particular social ground, where social status and positions are the result of mathematic calculation so it is not any kind of subjective estimation.
From this point of view there is a need to mention in the analyzed drama the position of the Queen. She plays very important role of the mediator (in sociology we speak about the function of the bridge) between the King and Hamlet. on the basis of the analysis of socio-metric model on the socio-map we put the question if her antagonistic role was utilized enough in the staging of that drama.

A. Bjačková: Theatre Review Yesterday and Today

The study deals with newspaper theatre reviews in the twenties and the nineties of 20th century. Initial materials are the reviews of the dailies Lidové noviny (1927-1929 and 1998-2000, the season from September to December), Právo lidu (1927-1929), Právo (1998-2000, the same season). Collected material is analyzed in two ways - quantitative and qualitative. In the area of numerical data we discover that in the twenties there were published more theatre reviews (later there were added more film reviews), the reviews were more extensive (other philosophy of the newspaper - the message had basis in the text) and the reviews were published more recently (mostly regularly the second day after the premiere).
The analysis of the quality deals with the function analysis of theatre review (in the twenties the priority was the direct evaluation, and in the nineties we can see the tendency for description, and also the text rhytm fastened), and also the analysis of genres. Before there was not the kind of festival review or so called mini-review, but in the nineties there is a lack of more flexible cognition that the subject of review need not be only the premiŹre (the single performance of the actors and actresses). Separate chapter is dedicated to functional analysis of the reviews photos and demonstrates absolute unutilizing of their possibilities.