Theatralia最新文献

{"title":"Much ado about Disney?","authors":"Tereza Zálešáková","doi":"10.5817/TY2019-1-14","DOIUrl":"https://doi.org/10.5817/TY2019-1-14","url":null,"abstract":"The Disney Musical on Stage and Screen is not the first book on Disney’s musicals; nevertheless, it is probably the first collection of critical approaches to Disney’s musicals in such a wide range. Moreover, it is the very first publication on Disney musicals which is taken into consideration in the field of Czech theatre studies. The Disney Musical on Stage and Screen: Critical Approaches from ‘Snow White’ to ‘Frozen’ consists of thirteen chapters which are split into three sections: Disney Musicals: On Film, Disney Adaptations: On Stage and Beyond, and Disney Musicals: Gender and Race. However, this distribution is only formal because regardless of the way of adaptation (for stage or screen) the main topics highlighted by the editor George Rodosthenous emerge in all these chapters. In a short introduction, Rodosthe nous establishes three main frameworks or perspectives for considering the Disney musical presentation. They ‘revisit musicals not only as popular entertainment or as a globalized commercial product, but firstly as a political tool for enhancing our understanding of race, sexuality, and gender, secondly as an educational tool for younger children and thirdly as a place for artistic innovation’ (2). This volume presents the Disney brand as a pioneering and innovative, philanthropic and educational tool as well as non-original, limited, Much Ado About Disney?","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44378029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The temporality of truth : deception and self-deception in Ingmar Bergman's The Best Intentions","authors":"Bettina Perregaard","doi":"10.5817/TY2019-1-3","DOIUrl":"https://doi.org/10.5817/TY2019-1-3","url":null,"abstract":"Ingmar Bergman’s novel, The Best Intentions, is about the life and love of his parents. In transforming his parents into the characters, Henrik and Anna, Bergman offers a compelling analysis of the driving forces behind their real-life actions and choices. The paper draws from the work of the Danish philosopher, Søren Kierkegaard, to demonstrate the way that Bergman‘s analysis is connected to a particular understanding of the dynamics of the self. I ask: how and why are Bergman’s two characters led to deception and self-deception during the most critical years of their lives? Bergman’s intuitions about the embodied, relational self arguably have to do with his experience as a stage director. Through his work, he is aware of the way that players distinguish between their own selves and the roles, characters, voices, and identities they perform. Bergman exploits the techniques, concepts, and metaphors of the theater in the narration of this story of a ‘life catastrophe’.","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45223943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Bergman as a master of expression : interview with Jan Holmberg","authors":"Karolína Stehlíková","doi":"10.5817/TY2019-1-9","DOIUrl":"https://doi.org/10.5817/TY2019-1-9","url":null,"abstract":"Jan Holmberg (jan.holmberg@ingmarbergman.se) is a film scholar and since 2010 the CEO of the Ingmar Bergman Foundation (Stiftelsen Ingmar Bergman), which administers, preserves and distributes information on Ingmar Bergman and his work. Jan Holm berg was the head of programming in the Swedish Cinematheque between 2002 and 2004. He is an author of number of studies published in books devoted to the Swedish film, i.e. ‘Censorship in Sweden’ in Swedish Film: An Introduction and Reader (edited by Mariah Larsson and Anders Marklund, Nordic Academic Press, 2010) or ‘Closing in: Telescopes, Early Cinema and the Technological Conditions of De-distancing’ in Moving Images. From Edison to the Webcam (edited by John Fullerton and Astrid Söderbergh Widding, John Libbey Publishing, 2016). In 2018, he published a book Författaren Ingmar Bergman (Ingmar Bergman, The Writer) where he explores the writing of Ingmar Bergman as a primary form of his expression. In 2017, Jan Holmberg held lectures devoted to the history of Swedish film at The Film School in Uherské Hradiště. In 2018, he presented Bergman as a writer and a theatre director at The Theatre Week in Prague. The following interview was carried out as an e-mail conversation in September 2018.","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71355866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Performativita – výlučná schopnost člověka","authors":"šárka Havlíčková Kysová","doi":"10.5817/ty2019-2-13","DOIUrl":"https://doi.org/10.5817/ty2019-2-13","url":null,"abstract":"","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71355987","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Jak jsme na tom?","authors":"Jiří Štefanides","doi":"10.5817/ty2019-2-14","DOIUrl":"https://doi.org/10.5817/ty2019-2-14","url":null,"abstract":"","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71355998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Das Nikolsburger Piaristendrama Ein kurtzes Spiel oder Action von Bacchi Geburt Leben vnndt Todt (1654) : Kontext – Edition – Kommentar","authors":"Christian Neuhuber","doi":"10.5817/ty2019-2-2","DOIUrl":"https://doi.org/10.5817/ty2019-2-2","url":null,"abstract":"Aus der ältesten Piaristen-Niederlassung nördlich der Alpen im südmährischen Mikulov / Nikolsburg kommt auch das früheste Theaterstück des piaristischen Schultheaters, das sich nicht nur als lateinische Perioche, sondern (zumindest zur Hälfte) im deutschen Volltext erhalten hat. Der Beitrag bringt die kommentierte Erstedition des Bacchus-Spiels, die die gängigen Vorstellungen von der Spielkultur des Ordens erheblich modifizieren wird. Er erläutert zudem die bemerkenswerten Umstände der Entstehung, Rezeption und Überlieferung, analysiert die ästhetischen Besonderheiten dieser Faschingsunterhaltung und verortet sie im Kontext des barocken Ordenstheaters.","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71356133","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Das vielsprachige Theater Tschechiens in der Frühen Neuzeit","authors":"Margita Havlíčková, Christian Neuhuber, Klára Škrobánková","doi":"10.5817/ty2019-2-1","DOIUrl":"https://doi.org/10.5817/ty2019-2-1","url":null,"abstract":"Durch die besondere geostrategische Lage im Herzen Europas bildete sich in den Ländern der Böhmischen Krone seit dem frühen Mittelalter ein äußerst komplexes Geflecht kultureller Traditionen aus, die von den soziohistorischen, konfessionellen, ethnischen und politischen Konstellationen der Region in verschiedenster Weise geprägt waren. Frühere Forschungen neigten dazu, markante kulturelle Ausprägungen als singuläre, ‚kulturhomogene‘ Phänomene in je spezifischen Kontexten herauszuarbeiten und dabei die Unterschiede und Trennlinien zu betonen bzw. das Widerständige, Andere zu vernachlässigen oder gar auszublenden. Mit dem Paradigmenwechsel hin zu einem Europa der Regionen allerdings verstärkten sich in den letzten Jahren auch die kulturwissenschaftlichen Bemühungen, künstlerische Ausdrucksformen in den böhmischen Ländern im Licht der vielfältigen Interdependenzen und Hybriditäten zu präsentieren, die sich aus dem Mit-, Nebenund (besonders ausgeprägten) Gegeneinander der Ethnien und sozial differenzierten Bevölkerungsgruppen ergaben. Besonders sinnfällig ist dieser intensivierte Blick auf interkulturelle und interlinguale Austauschbeziehungen im Bereich des Theaters, das nicht zuletzt aufgrund seiner genuin kommunikativ-semiotischen und intermedialen Ästhetik seit jeher offener war für Einflüsse von einem – wie auch immer gestalteten – ‚Außen‘. Einige Aspekte dieser dichten kulturellen Vernetzung werden in der Rubrik Yorick des vorliegenden Bands auf Basis neuester Forschungen und Quellenfunde vor allem zur frühneuzeitlichen Bühnenkunst in Mähren näher beleuchtet. Wie schon der Thementitel anklingen lässt, sollen dabei nicht nur die gängige Dichotomie zwischen einer ‚slawischen‘ und ‚deutschen‘ Kultur in den böhmischen Ländern aufgebrochen und transkulturelle oder transregionale Perspektiven aufgezeigt werden. In den Mittelpunkt gerückt werden auch weitere Ausformungen des Theatralen, die nicht auf tschechischer Sprache basieren: theaterpädagogische Unterhaltungen in und mit der Bildungssprache Latein, musikdramatische Formen in der Musikkultursprache Italienisch, der Einfluss englischer, italienischer und französischer Theaterkunst auf [ Theatralia 22 / 2019 / 2 (7—11) ] https://doi.org/10.5817/TY2019-2-1","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71355874","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Performing cathedral : Le Ballet des Ombres Heureuses as a case of multiple foregrounding","authors":"E. Šlaisová","doi":"10.5817/TY2019-S-10","DOIUrl":"https://doi.org/10.5817/TY2019-S-10","url":null,"abstract":"Using the theories of the Prague School, this study focuses on the video mapping Le Ballet des Ombres Heureuses (Dance of the Blessed Spirits)1 created by the Belgian company ACT Lighting Design and projected on the facade of the Cathedral of Strasbourg and surrounding areas in 2017. Le Ballet des Ombres Heureuses will be presented here as a case of multiple aktualizace (foregrounding or topicalization),2 including that of the structure, function and sign.","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71356357","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Intertextuality and autonomous fictional worlds in Disney : the case of Moana (2016)","authors":"A. Pérez-Simón","doi":"10.5817/ty2019-s-6","DOIUrl":"https://doi.org/10.5817/ty2019-s-6","url":null,"abstract":"In this essay I approach Moana (2016), produced by Walt Disney Animation Studios, with a special focus on a musical scene that represents the counterargument of what is ostensibly the main lesson in the film (the “look-inside-yourself” motif so central to many Disney titles). I am referring to the scene in which the young heroine Moana, daughter of the chief of a Polynesian island, faces the giant crab Tamatoa in the undersea environment of Lalotai, also known as “The Realm of Monsters.” At the request of Moana, who tries to distract him by feeding his ego, Tamatoa agrees to introduce himself “in song form” (this is, of course, a self-referential statement that lays bare the conventions of musical films) and then proceeds to perform the song “Shiny,” the main object of my analysis here. This song was composed by Lin-Manuel Miranda (creator of the Broadway musicals In the Heights and Hamilton) and Mark Mancina, with lyrics by Miranda; it is performed by actor and musician Jemaine Clement, member of the comedy duo Flight of the Conchords. The “Shiny” scene contains very explicit intertextual references to the figure of David Bowie, an aspect that makes this scene exceptional in contrast to Disney’s common practice of creating fictional worlds that appear to us as self-sufficient entities somehow insulated from external references, as I will comment on later. My essay renders homage to Petr Bogatyrev’s 1938 essay on Snow White, the first structuralist essay on what was Disney’s first full-length animated movie ever. As it is well known, Petr Bogatyrev wrote “Chaplin and The Kid” and “Chaplin, the Fake Count” in 1923, two articles studying the construction patterns in three of Charles Chaplin’s films – The Kid, The Count and The Immigrant. In studying Chaplin’s art Bogatyrev paid special attention to elements of plot construction such as contrast, retardation and so on, operating within the theoretical framework established by Viktor Shklovsky (ostranenie, “how art is made”, etc.), who was the editor of the collection of essays on Chaplin. Fifteen years later, in 1938, Bogatyrev published [ Theatralia 22 / 2019 / 2, Supplementum (72—82) ] https://doi.org/10.5817/TY2019-S-6","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71356434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ingmar Bergman's afterlife","authors":"Karolína Stehlíková","doi":"10.5817/TY2019-1-1","DOIUrl":"https://doi.org/10.5817/TY2019-1-1","url":null,"abstract":"","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71356160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}