J 2023

Vladimír Gamza: the comedian’s system

MUSILOVÁ, Martina

Basic information

Original name

Vladimír Gamza: the comedian’s system

Name in Czech

Vladimír Gamza: komediantův systém

Name (in English)

Vladimír Gamza: the comedian’s system

Authors

Edition

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

Other information

Language

Czech

Type of outcome

Článek v odborném periodiku

Field of Study

60403 Performing arts studies

Country of publisher

Czech Republic

Confidentiality degree

není předmětem státního či obchodního tajemství

References:

Impact factor

Impact factor: 0.200 in 2022

Organization unit

Faculty of Arts

DOI

Keywords (in Czech)

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

Keywords in English

Stanislavsky, Gamza, Stanislavsky system, acting, Russian exile, Czechoslovakia
Změněno: 25/2/2024 23:22, doc. MgA. David Drozd, Ph.D.

Abstract

ORIG EN

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.

In English

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.