Drama Revue 1/2004
Summary

L. Šaldová: The Talent Under the Pressure of the Time

The study follows director's activity of Bohumil Hrdlička and its reflection in post-war (post-February 1948) Czechoslovakia in connection with the changes of political situation, and so the official point of view at art. Hrdlička's beginnings of career in Ostrava (Pelléas and Mélisanda etc.) reflect his expressively theatrical seeing of opera inspired by the avantgarde between the wars. In National Theatre he had still more moved aside the realistic patterns to symbolical theatre (Krútňava, Rigoletto etc.) His poetic, contemporaneous interpretation of Magic Flute (mosaic of symbolic images in simplified free space brought out vast discussion: he was welcome as usefull fresh air, but he was seen in the contradiction with the music - the disagreement is connected with traditional conception concerning the position of director in opera theatre. Despite the major refusal of the staging (and its early derniere) the critics were very hopefull about Hrdlička - but he immigrated to Germany.

K. Volná: The Change of Faustus Myth in Russia

The study deals with the destiny of traditional western myth about Faustus in Russian literature. The author mentions the shift in understanding of Faustus myth in works of three significant writers of that time (Pushkin, Dostoyevsky, Bulgakov). As "Russian Faust" there are explored Pushkin's Faust (The Scenes from Faust) and Germann (Lady of Spades), Dostoyevsky's Raskolnikov (The Crime and Punishment), Stavrogin (The Devils) and Ivan Karamazov (Brothers Karamazov), Bulgakov's Preobrazenski (Dog's Heart) and Master and Marguaritte (Master and Marguaritte). There is shown that strong Faustus character is very much weakened in Russian elaborations: at Pushkin's work Faustus is eroded by boredom, at Dostoyevski's by complicated conscience, at Bulgakov by the agression of the time which malforms the human soul. For these Fausts presented by named authors the lust for knowledge is indifferent. We cannot find there the un-planned using of devil's service because of their own profit which is inseparably connected with the western kind of Faustus myth: the Russian Faust doesn't bargain with the hell. But he neither wins in the fight with the hell.

M. Musilová: The Philosophy of Martin Buber and the Dialogue in Czech Science about the Theatre

The author presents the main motifs of the philosophy of the dialogue by Martin Buber and compares them with the basic study of Czech theatre theory of Jan Mukařovský: The Dialogue and the Monologue from 1940. She refers to the two sources of European culture. The Greek tradition is understood as the dialogue of conflict of ideas and points of view, she issues from the subject of dialogue. The linguistic conception of Jan Mukařovský is influenced by this tradition. Buber's understanding of the dialogue is based on Jewish tradition. The dialogue for Buber is the reality od spiritual relation in which the behaviour shows. The situation of the dialogue is the beginning of all other acts, it is primary and the human being is born into this situation.
The author in detail deals with the phenomenon of addressing somebody in which according Buber the dialogue has been born (the basic words Me-You and Me-It). She uses her experience of studying the discipline The Acting with the Inner Partner which is the axis of the lessons at the Department of Authorship and Pedagogy (prof. Ivan Vyskočil) at Prague Academy of Arts - Theatre Faculty.

A. Kopřivová: Half-forgotten Stories (The Trials of Russian Immigrants Connected with National Theatre)

After October (November) Revolution in 1917 Czar's Russsia had ceased. The Civil War exiled from Russia hundreds of thousands of its inhabitants. It was not areal exodus, but exile when for the first time in mass scale was applied the point of view of classes. From the largely illiterate Russia mostly the representatives of oposition, formed by aristocracy, intelligentsia, the scientists and artists departed.
Czechoslovak Republic in the frames of so called Russian helpfull action adopted in the beginning of twenties of 20th century part of these refugees who found their place in various branches of economical and social life in Czechoslovak republic.
In the study we especially reflect those who worked in National theatre in Prague. Most of them won through in ballet: eg: V. Baldin, A. Drozdov, D. Grigorovic- Barsky, V. Malcev, J. Nikolska and R. Remislavsky. There were also singers - B. Chorovic, V. Assayev, L. Balabina and as the guests J. Baklanov and F. Schaliapin, conductors N. Podasevsky and as a guest N. Malko, scenographers M. Andreyenko, A. Andreyev, M. Urvancov, I. Bilibin, N. Benois, M. Dobuzinsky, V. Zendrinsky, N. Zarecky, M. Romberg and translator of theatre plays and theatrologist S. Machonin.

L. Bartoš: The Borders of the Concept of Art and Legal Symbols of Concept of Art Work

The topic opened by Petr Pavlovský - the borders of the concept of Art - can be followed by finding out of the new view at this theme by analysis of certain disproportions between the word-conception of fine-art history and the concept of author's and legal conception: the meaning of the term ART WORK according the traditional common theory of art is not coincident with its interpretation according generally accepted norm, that means according the law about literal, scientific and art works (author's law). We can speak about the diffusion of borders.
In such a comparison there raise new questions and also other important terms which are to be studied as e. g. symbols of concept of art work, artistic performance and performaning artist, bearer of the work, record of the work/performance and those terms to compare with the regard to transitory spheres of the term art as defined by Pavlovský.
In conclusion there is acknowledge that in the relation between the transitory spheres and symbols of concept of art work there is no direct relevance.