Vladimír Gamza: the comedian’s system

MUSILOVÁ, Martina. Vladimír Gamza: the comedian’s system. STANISLAVSKI STUDIES. ENGLAND: ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD, 2023, roč. 11, č. 1, s. 33-44. ISSN 2056-7790. Dostupné z: https://doi.org/10.1080/20567790.2023.2196307.

Základní údaje

Originální název

Vladimír Gamza: the comedian’s system

Název česky

Vladimír Gamza: komediantův systém

Název anglicky

Vladimír Gamza: the comedian’s system

Autoři

MUSILOVÁ, Martina

Vydání

STANISLAVSKI STUDIES, ENGLAND, ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD, 2023, 2056-7790

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Další údaje

Jazyk

čeština

Typ výsledku

Článek v odborném periodiku

Obor

60403 Performing arts studies

Stát vydavatele

Česká republika

Utajení

není předmětem státního či obchodního tajemství

Odkazy

URL

Impakt faktor

Impact factor: 0.200

Označené pro přenos do RIV

Ne

Organizační jednotka

Filozofická fakulta

DOI

https://doi.org/10.1080/20567790.2023.2196307

Klíčová slova česky

Stanislavskij, Gamza, Stanislavského systém, herectví, ruský exil, Československo

Klíčová slova anglicky

Stanislavsky, Gamza, Stanislavsky system, acting, Russian exile, Czechoslovakia

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Anotace

V originále

It is well known that after 1918 the newly founded Czechoslovakia became an asylum for thousands of Russian, Ukrainian, and Belarusian emigrants. Among the exiles we find former members of the MAT and its First Studio. Kachalov’s Group in Prague is a well-known example. This was also a period of significant repatriation of a number of Czechoslovaks settled in Russia. Among them was Vladimír Gamza (1902–29), an admirer of the First Studio, who attempted to implement its programme in Czechoslovakia by setting up the Czech Studio (1924–5 season) and the Art Studio (1926–7). Gamza quickly developed a passion for Russian modernist theatre, which he was exposed to until he was 17. His direct experience of Russian theatre is linked to the pre-revolutionary period. In this essay I will discuss how we can trace a partial knowledge of the Stanislavsky System in his work and its reflection.

Anglicky

It is well known that after 1918 the newly founded Czechoslovakia became an asylum for thousands of Russian, Ukrainian, and Belarusian emigrants. Among the exiles we find former members of the MAT and its First Studio. Kachalov’s Group in Prague is a well-known example. This was also a period of significant repatriation of a number of Czechoslovaks settled in Russia. Among them was Vladimír Gamza (1902–29), an admirer of the First Studio, who attempted to implement its programme in Czechoslovakia by setting up the Czech Studio (1924–5 season) and the Art Studio (1926–7). Gamza quickly developed a passion for Russian modernist theatre, which he was exposed to until he was 17. His direct experience of Russian theatre is linked to the pre-revolutionary period. In this essay I will discuss how we can trace a partial knowledge of the Stanislavsky System in his work and its reflection.