Jiří Frejka a Moderní studio (1929)

JOCHMANOVÁ, Andrea. Jiří Frejka a Moderní studio (1929) (JIří Frejka and The Modern Studio (1929)). In SPFFBU, řada teatrologická, Q. 1st ed. Brno: Masarykova univerzita, 2008, p. 37-58, 21 pp. ISBN 978-80-210-4541-5.

Basic information

• Original name: Jiří Frejka a Moderní studio (1929)
• Name in Czech: Jiří Frejka a Moderní studio (1929)
• Name (in English): JIří Frejka and The Modern Studio (1929)
• Authors: JOCHMANOVÁ, Andrea (203 Czech Republic, guarantor, belonging to the institution).
• Edition: 1. vyd. Brno, SPFFBU, řada teatrologická, Q, p. 37-58, 21 pp. 2008.
• Publisher: Masarykova univerzita

Other information

• Original language: Czech
• Type of outcome: Proceedings paper
• Field of Study: Art, architecture, cultural heritage
• Country of publisher: Czech Republic
• Confidentiality degree: is not subject to a state or trade secret
• RIV identification code: RIV/00216224:14210/08:00041959
• Organization unit: Faculty of Arts
• ISBN: 978-80-210-4541-5
• Keywords in English: czech avant-garde ; theatre ; Modern studio; Jiří Frejka
• Tags: czech avant-garde, Jiří Frejka, Modern studio, Theatre
• Tags: Reviewed

Abstract

Studie se zabývá tvorbou začínajícího režiséra Jiřího Frejky na sklonku dvacátých let. V případě Moderního studia existuje ještě mnoho otazníků, které se vztahují jak k problémům režijně-dramaturgickým, tak i koncepčním.

Abstract (in English)

At the beginning of the year 1929 a group, formed around Jiri Frejka and Emil F. Burian, succeeded in creating one of the last associations that were to serve as multifunctional cultural organizations. The so-called Modern Studio had to face numerous problems in the course of its several month-long existence which were also reflected in the artistic work of the company. The initial originality, which produced such discoveries as the introduction of the Japanese Play about Asagao by Kahashi Yamada and the satirical play Cyclops by Euripides, was replaced by unoriginal attempts to modernize traditional drama. The promising dramaturgic experiments, e.g. the dramatization of Romains popular novella Les Copains, were doomed to failure because of the depressing economic conditions then prevalent in Europe. The situation was saved by the growing popularity of voiceband, which besides its independent concerts also formed an important onomatopoeic aspect of the productions.