MUSILOVÁ, Martina. BB – repeatedly resurgent impulses for the Czech theatre acting. In Bertolt Brecht: Contradictions as a Method, 8-10.11.2019, Prague. 2019.
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Basic information
Original name BB – repeatedly resurgent impulses for the Czech theatre acting
Name in Czech BB - opakovaně oživující impulsy českého divadelního herectví
Authors MUSILOVÁ, Martina.
Edition Bertolt Brecht: Contradictions as a Method, 8-10.11.2019, Prague, 2019.
Other information
Original language English
Type of outcome Presentations at conferences
Field of Study 60403 Performing arts studies
Country of publisher Czech Republic
Confidentiality degree is not subject to a state or trade secret
WWW Web site of the conferece
Organization unit Faculty of Arts
Keywords (in Czech) Bertolt Brecht, herectví, české divadlo, Josef Karlík
Keywords in English Bertolt Brecht, acting, Czech Theatre, Josef Karlík
Tags International impact
Changed by Changed by: doc. MgA. David Drozd, Ph.D., učo 16452. Changed: 24/1/2021 13:40.
Abstract
The presentation focused on the reception of Bertolt Brecht in Czech theatre in the post-war period. The Epic theatre served as a defence against Social realism indoctrinated by Stalinist communists. On the other hand, the ability to receive Brechtian impulses had its roots in the interwar Avant-guard practice. During a short period of 1956–1963 Brechtian impulses regenerated Czech theatre on several levels: it helped to reintegrate the Avant-guard practice; it stimulated a rise of the post-war alternative theatres; and it initiated the origin of Theatre of Appeal, Czech variation of the engaged theatre. In 1970’s and 1980’s we can see a new and more profound reception of Stanislavski System in the work of actors who represented Brechtian Epic style in 1960’s. The syncretism of Stanislavski and Brecht is demonstrated in the acting and the pedagogy of Josef Karlík.
Abstract (in Czech)
Příspěvek se zaměřuje na recepci Bertolta Brechta v v českém poválečném divadle. Epické divadlo sloužilo jako obrana proti socialistickému realismu indoktrinovanému stalinisty. Schopnost recipovat brechtovské impulsy mají kořeny avantgardní praxi českého divadla. Během let 1956–1963 brechtovské impulsy znovuoživily české divadlo na několika úrovních: podnítily vznik poválečných alternaticních divadel a vznik apelativního divadla, české verze angažovaného divadla. V 70. a 80. letech se setkáváme s novou a hlubší recepcí Stanislavského systému v tvorbě reprezentantů epiuckého stylu 60. let. Tento synkretismus Stanislavského a Brechta je demonstrován na herectví a pedagogice Josefa Karlíka.
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