Detailed Information on Publication Record
2023
Vladimír Gamza: the comedian’s system
MUSILOVÁ, MartinaBasic 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
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.
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.