Puppets, statues, men, objects, and the Prague School

Zdrojový dokument: Theatralia. 2012, roč. 15, č. 2, s. 74-88
  • ISSN
    1803-845X (print)
    2336-4548 (online)
Type: Článek
Licence: Neurčená licence
At the turn of the 20th century as the penchant to imitate real people began to change, theoreticians and practitioners of theatre turned their attention to puppets. This was the case of three theorists (Jan Mukařovský, Otakar Zich, and Petr Bogatyrev), who became the leading members of the Prague Linguistic Circle. This contribution shows that their studies written in 1923, contained many important ideas developed later by Bogatyrev, Mukařovský, Jiří Veltruský, and Roman Jakobson. They all contributed considerably to contemporary theories of acting, theatre in general, and puppet theatre in particular.
[1] AMBROS, Veronika. 2008. Prague's Experimental Stage: Laboratory of Theatre and Semiotics. Semiotica (2008): 45‒65.

[2] AMBROS, Veronika. 1999. Czech Performance Theory. In Domenico Pietropaolo (ed.). The Performance Text. New York: Ottawa, 1999:113‒125.

[3] AMBROS, Veronika. 2012. Proměny Re-Prezentace [Transformations of re-presentation]. In Jazyky reprezentace[Languages of representation]. Prague: Akropolis, 2012: 147‒156.

[4] AMBROS, Veronika, Roland Le HUENEN, Adil D'SOUSA, and Andres PÉREZ-SIMÓN (eds.). 2009. Structuralism(s) Today: Paris, Prague, Tartu. Ottawa: Legas, 2009: 176‒189.

[5] BOGATYREV, Peter. 1938. Znaky Divadelní [Theatre Signs]. Slovo a Slovesnost 4 (1938): 138‒49.

[6] BOGATYREV, Peter. 1940. Lidové divadlo české a slovenské [Czech and Slovak Folk Theatre]. Prague: Borový, 1940.

[7] BOGATYREV, Peter. 1982. A Contribution to the Study of Theatrical Signs. In Peter Steiner (ed.). The Prague School. Selected Writings, 1929‒1946. Austin: University of Texas Press, 1982: 54‒64.

[8] BOGATYREV, Peter. 1923. Cheshskii kukol'nyi i russkii narodnyi teatr. St. Petersburg: Opojaz, 1923.

[9] BOGATYREV, Peter. 1971. Souvislosti tvorby. Ed. by Jan Kolár. Prague: Odeon, 1971.

[10] BOGATYREV, Peter. 1923. Chaplin: sbornik statej. Berlin: Kino, 1923.

[11] BOGATYREV, Peter,andMichele MINNICK. 1999. Czech Puppet Theatre and Russian Folk Theatre.TDR 43 (1999): 3: 97‒114. | DOI 10.1162/105420499760347351

[12] CÍSAŘ, Jan. 1967. Návraty k dnešku [Returns for Today]. Divadlo (1967): 3: 1‒7.

[13] DEÁK, František. 1976. Structuralism in Theatre: The Prague School Contribution. The Drama Review 20 (1976): 4: 83‒94. | DOI 10.2307/1145077

[14] ELAM, Keir. 2002. The Semiotics of Theatre and Drama. London: Routledge, 2002.

[15] HONZL, Jindřich. 1940. Pohyb divadelního znaku [Dynamics of the Sign in the Theatre]. Slovo a slovesnost 6 (1940): 177‒188.

[16] HONZL, Jindřich. 1976. Dynamics of the Sign in the Theatre. In Ladislav Matějka, and Irwin Titunik (eds.). Semiotics of Art: Prague School Contributions. Cambridge: MIT Press, 1976: 74‒93.

[17] JAKOBSON, Roman. 1975. The Statue in Pushkin's Poetic Mythology. In John Burbank (trans. and ed.). Pushkin and His Sculptural Myth. The Hague/Paris: Mouton, 1975: 1‒44.

[18] KARÁSEK ZE LVOVIC, Jiří. 1987. Úvod a věnování [Intoduction and Dedication]. In F. Sokol (ed.). Svět loutkového divadla [World of Puppet Theatre]. Prague: Albatros, 1987: 11‒13.

[19] KLEIST, Heinrich von. On the Marionette Theatre. Southern Cross Review [online]. [Accessed on Feb 26th, 2012]. Available online athttp://southern-crossreview.org/9/kleist.htm.

[20] MEERZON, Yana. 2005. The Path of a Character. Michael Chekhov's Inspired Acting and Theatre Semiotics. Frankfurt/Berlin: Peter Lang, 2005.

[21] MUKAŘOVSKÝ, Jan. 1948. Kapitoly z české poetiky [ Chapters from Czech Poetics]. Prague: Svoboda, 1948.

[22] MUKAŘOVSKÝ, Jan. 1978. On the Current State of the Theory of Theatre. In Peter Steiner, and John Burbank (eds.). Structure, Sign and Function: Selected Essays by Jan Mukařovský. New Haven: Yale UP, 1978: 201‒219.

[23] MUKAŘOVSKÝ, Jan. 1978. An Attempt at a Structural Analysis of a Dramatic Figure. In John Burbank, and Peter Steiner (eds.). Structure, Sign, and Function: Selected Essays by Jan Mukarovsky. New Haven: Yale UP, 1978: 171‒77.

[24] MUKAŘOVSKÝ, Jan. 1982. Studie z estetiky [ Essays on Aesthetics]. Prague: Odeon, 1982.

[25] MUKAŘOVSKÝ, Jan. 1987. Drobní lidé [Small People]. In F. Sokol (ed.). Svět loutkového divadla [World of Puppet Theatre]. Prague: Albatros, 1987: 35‒38.

[26] QUINN, Michael. 1989. The Prague School concept of the stage figure. In Irmengard Rauch, and Gerald F. Carr (eds.). The Semiotic bridge: trends from California. Rauch/Irmengard/Berlin/New York: Mouton de Gruyter, 1989: 75‒85.

[27] QUINN, Michael. 1995. The Semiotic Stage. Prague School Theatre Theory. New York/Bern/Berlin/Frankfurt/Paris/Wien: Peter Lang, 1995.

[28] SCHMID, Herta. 1990. Die Tschechische Theatreavantgarde und die Tradition des Maskentheatres: Voskovec und Werichs Lumpenballade [Czech Theatre Avant-Garde and the Tradition of the Theatre Masks: Voskovec & Werich's Hagged Ballad]. In Günter Ahrends, and Hans-Jürgen Diller (eds.). Unconventional Conventions in Theatre Texts. Tübingen: Narr, 1990: 95‒124.

[29] SCHONBERG,Michal. 1995. Rozhovory s Voskovcem [Interviews with Voskovec]. Prague: Blízká setkání, 1995.

[30] SHAKESPEARE, William. 1982. The Winter's Tale. In The Illustrated Stratford Shakespeare. London: Chancellor, 1982: 312‒339.

[31] SOKOL, František. 1987. Svět loutkového divadla [World of Puppet Theatre]. Prague: Albatros, 1987.

[32] SOUČKOVÁ, Milada. 1978. The Prague Linguistic Circle: A Collage. In Ladislav Matějka (ed.). Sound, Sign and Meaning. Quinquagenary of the Prague Linguistic Circle. Ann Arbor: Department of Slavic Languages and Literatures, 1978: 1‒5.

[33] STEINER, Peter. 1982. The Prague School. Selected Writings 1929‒1946. Austin: University of Texas Press, 1982.

[34] STYAN, J. L. 1981. Modern Drama in Theory and Practice 3: Expressionism and Epic Theatre. Cambridge/New York: Cambridge UP, 1981.

[35] SUS, Oleg. 2010. Průkopník české strukturální sémantické divadelní vědy. (Psychosémantika a divadelní umění) [Pioneer of the Czech Structural Semantic Theatre Studies. (Psychosemantics and Theatre)]. Theatralia 13 (2010): 2: 218‒243.

[36] STEHLÍKOVÁ, Eva. 2012. Imaginary Space. Graecolatina Pragensia 24 (2012): 203‒206.

[37] VELTRUSKÝ, Jiří. 1994. Příspěvky k teorii divadla [Contributions to the Theatre Theory]. Prague: Divadelní ústav, 1994.

[38] VELTRUSKÝ, Jiří. 1964. Man and Object in the Theatre. In Paul L. Garvin (ed.). A Prague School Reader on Esthetics, Literary Structure, and Style. Georgetown: Georgetown UP, 1964: 83‒91.

[39] VELTRUSKÝ, Jiří. 1981. The Prague School Theory of Theatre. Poetics Today 2 (1981): 3: 225‒235. | DOI 10.2307/1772473

[40] VELTRUSKÝ, Jiří. 1987. Structure in Folk Theatre: Notes regarding Bogatyrev's Book on Czech and Slovak Folk Theatre. Poetics Today 8 (1987): 1: 141‒161. | DOI 10.2307/1773006

[41] VELTRUSKÝ, Jiří. 1994. Loutkové divadlo a herectví [Puppet Theatre and Acting]. In Příspěvky k teorii divadla [Contributions to the Theatre Theory]. Prague: Divadelní ústav, 1994: 189‒237.

[42] VOSKOVEC, Jiří, and Jan WERICH. 1967. Music-Hall a co z toho pošlo [Music-Hall and what has come out of it]. In K. Chvatík, and Z. Pešat (eds.). Poetismus.Prague: Odeon, 1967: 296‒299.

[43] ZICH, Otakar. 1986. Estetika dramatického umění [Aesthetics of the Dramatic Arts]. Prague: Panorama, 1986.