Source document: Theatralia. 2020, vol. 23, iss. 1, pp. 13-29
Extent
13-29
-
ISSN1803-845X (print)2336-4548 (online)
Persistent identifier (DOI): https://doi.org/10.5817/TY2020-1-2
Stable URL (handle): http://hdl.handle.net/11222.digilib/142546
Type
Article
Language
English
License: CC BY-NC-ND 4.0 International
Abstract(s)
Zich's unique views of dramatic work initiated a performance theory avant la lettre. It was, however, as I argue a collective effort of Prague School theorists, whose polemics with Zich and among each other recognized the inherent semiotic potential of Zich's work. Often related to contemporary stage experiments, Zich's ideas explored topics like the mobility and hierarchy of signs, their respective functions, and the position of dramatic text, the concept of the 'actor's figure'. Zich and the discussions he incited are also useful for ideas of transitions between theatre and ceremony that enrich the current approach to the audience, space, and characters on the contemporary stage.
Note
- The paper is an outcome of a research project Divadlo jako syntéza umění: Otakar Zich v kontextu moderní vědy a dnešní potenciál jeho konceptů / Theatre as Synthesis of Arts: Otakar Zich in Context of Modern Science and Actual Potential of His Concepts (GAČR 2016-2018, GA16-20335S).
Document
References:
[1] AMBROS, Veronika. 2011. Puppets, Statues, Men, Objects, and the Prague School . Theatralia 2 (2011): 74–88.
[2] AMBROS, Veronika. 2012. Petr Bogatyrev (1893–1971) et E. F. Burian (1904–1959): Entre Formalisme et Structuralisme, entre Ethnographie et Sémiotique du Théâtre . In Sergei Tschougounnikov and Celine Trautmann-Walter (eds.). Petr Bogatyrev et les Débuts du Cercle de Prague. Recherches Ethnographiques et Theatrales. Paris: Sorbonne Nouvelle, 2012: 135–146.
[3] BOGATYREV, Petr. 1982. A Contribution to the Study of Theatrical Signs . In Peter Steiner (ed.) and John Burbank (transl.). The Prague School: Selected Writings, 1929–1946. Austin: Texas UP, 1982: 55–64.
[4] BOGATYREV, Petr. 2016. Theatrical Signs . In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 99–114.
[5] BRUŠÁK, Karel. 1991. Imaginary Action Space in Drama . In Herta Schmid and Hedwig Král (eds.). Drama und Theater: Theorie – Methode – Geschichte. München: Otto Sagner, 1991: 144–162.
[6] BURJANEK, Josef. 1966. Otakar Zich . Brno: St. pedag. nakl., 1966.
[7] DROZD, David, Tomáš KAČER and Don SPARLING (eds.). 2016. Theatre Theory Reader: Prague School Writings . Prague: Karolinum Press, 2016.
[8] DROZD, David. 2010. Chybějící část recepce Zichova opus magnum [The Missing Part of the Reception of Zich's Opus Magnum]. Theatralia 13 (2010): 2: 214–218.
[9] ELAM, Keir. 2002. The Semiotics of Theatre and Drama . 2nd ed. London/New York: Routledge, 2002.
[10] HONZL, Jindřich. 1940. Objevené divadlo v lidovém divadle českém a slovenském [Discovered Theatre in Czech and Slovak Folk Theatre]. Slovo a slovesnost 6 (1940): 2: 107–111.
[11] HONZL, Jindřich. 2016. The Mobility of the Theatrical Sign . In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 129–146.
[12] JAKOBSON, Roman. 1985. Peter Bogatyrev, (29.1.93–18.VIII.71). Expert in Transfiguration . Selected Writings, VII, Berlin, NY, Amsterdam: Mouton, 1985: 293–304.
[13] JAKOBSON, Roman. 1987a. An Open Letter from Roman Jakobson to Jiří Voskovec and Jan Werich on the Epistemology and Semantics of Fun . Transl. by M. Quinn. Stanford Slavic Studies (1987): 1: 155–162.
[14] JAKOBSON, Roman. 1987b. On Realism in Art . In Krystyna Pomorska and Stephen Rudy (eds.). Language in Literature. Cambridge, Mass./London: Harvard UP, 1987: 19–28.
[15] MEERZON, Yana. 2005. The Path of a Character: Michael Chekhov's Inspired Acting and Theatre Semiotics . Frankfurt am Main: Peter Lang, 2005.
[16] MUKAŘOVSKÝ, Jan. 1933. Otakar Zich: Estetika dramatického umění (recenze) [Otakar Zich: The Aesthetics of Dramatic Art (review)]. Časopis pro moderní filologii a literaturu XIX (1933): 318–326.
[17] MUKAŘOVSKÝ, Jan. 1940. Dialog a Monolog [Dialogue and Monologue]. Listy Filologické / Folia Philologica 67 (1940): 3/4: 139–160.
[18] MUKAŘOVSKÝ, Jan. 1978. Time in Film . In John Burbank and Peter Steiner (transl. and eds.). Structure, Sign, and Function. Selected Essays. New Haven/London: Yale University Press, 1978: 191–200.
[19] MUKAŘOVSKÝ, Jan. 1982. Otakar Zich . In Jan Mukařovský. Studie z poetiky. Prague: Odeon, 1982: 284–289.
[20] MUKAŘOVSKÝ, Jan. 2016a. An Attempt at a Structural Analysis of an Actor's Figure (Chaplin in City Lights) . In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 192–199.
[21] MUKAŘOVSKÝ, Jan. 2016b. Dialogue and Monologue . In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 220–246.
[22] MUKAŘOVSKÝ, Jan. 2016c. On the Current State of the Theory of Theatre . In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 59–75.
[23] NOVÁK, Bohumil. 1933. Rozhovor s Otakarem Zichem [An Interview with Otakar Zich]. Čin 4 (1933): 465–469.
[24] PRAŽÁKOVÁ, Klára. 1921. Pomyslné jeviště [Imaginary Stage]. Jeviště II (1921): 390–392.
[25] PROCHÁZKA, Miroslav. 1978. Jindřich Honzl a otázky teorie divadelního znaku. (Šestidílná studie o zkoumání sémiotických otázek v teatrologických úvahách Jindřicha Honzla) [Jindřich Honzl and Isues of the Theory of the Theatrical Sign (A Study in Six Parts of Studying Semiotic Issues in Jindřich Honzl's Inquiries in Theatre Studies]. Estetika 15 (1978): 2: 97–116.
[26] QUINN, Michael L. 1988. Švejk's Stage Figure: Illustration, Design, and the Representation of Character . Modern Drama 31 (1988): 3: 330–339. | DOI 10.3138/md.31.3.330
[27] QUINN, Michael L. 1990. Celebrity and the Semiotics of Acting . New Theatre Quarterly 6 (1990): 22: 154–161.
[28] QUINN, Michael L. 1995. The Semiotic Stage: Prague School Theatre Theory . New York: Peter Lang, 1995.
[29] STIEBITZ, Ferdinand. 1937. Pomyslné jeviště v antickém a v moderním dramatě [The Imaginary Stage in Classical and Modern Drama]. Věda a život (1937): 3: 229–242.
[30] SUS, Oleg, Ladislav SOLDÁN and Dušan JEŘÁBEK. Geneze sémantiky hudby a básnictví v moderní české estetice: dvě studie o Otakaru Zichovi [Development of Musical and Poetic Semantitcs in Modern Czech Aesthetics: Two Studies about Otakar Zich]. Brno: Filozofická fakulta Masarykovy univerzity, 1992.
[31] SUS, Oleg. 1972. On the Genetic Preconditions of Czech Structuralist Semiology and Semantics . Poetics 1 (1972): 4: 28–54. | DOI 10.1016/0304-422X(72)90003-4
[32] SZONDI, Peter. 1967. Theorie des modernen Dramas . Frankfurt am Maine: Suhrkamp, 1967.
[33] VELTRUSKÝ, Jiří. 1942. Drama jako básnické dílo [Drama as Literature]. In Bohuslav Havránek and Jan Mukařovský (eds.). Čtení o jazyce a poesii [Reading about Language and Poetry]. Prague: Družstevní práce, 1942: 403–502.
[34] VELTRUSKÝ, Jiří. 1977. Drama as Literature . Lisse: Peter de Ridder Press, 1977.
[35] VELTRUSKÝ, Jiří. 1979. Theatre in the Corridor. E. F. Burian's Production of 'Alladine and Palomides' . The Drama Review 23 (1979): 4: 67–80. | DOI 10.2307/1145230
[36] VELTRUSKÝ, Jiří. 1999. Drama jako básnické dílo [Drama as Literature]. Brno: Host, 1999.
[37] VELTRUSKÝ, Jiří. 2016a. A Contribution to the Semiotics of Acting . In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 376–424.
[38] VELTRUSKÝ, Jiří. 2016b. Dramatic Text as a Component of Theatre . In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 247–268.
[39] VELTRUSKÝ, Jiří. 2016c. People and Things in the Theatre . In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 147–156.
[40] VELTRUSKÝ, Jiří. 2016d. Strukturalismus a divadelní věda [Structuralism and Theatre Studies]. Theatralia 19 (2016): 1: 231–237.
[41] ZICH, Jaroslav. 1965. Sdělovací schopnost hudby [Communicative Abilities of Music]. Hudební věda II (1965): 31–75.
[42] ZICH, Jaroslav. 1987 [1975]. Kapitoly a studie z hudební estetiky [Chapters and Studies in the Aesthetics of Music]. Prague: Supraphon, 1987.
[43] ZICH, Otakar and Oleg SUS. 1977. Estetika dramatického umění: teoretická dramaturgie [The Aesthetics of Dramatic Art: A Theoretical Dramaturgy]. Würzburg: Jal-reprint, 1977.
[44] ZICH, Otakar. 1931. Estetika dramatického umění [The Aesthetics of Dramatic Art]. 1st ed. Prague: Melantrich, 1931.
[45] ZICH, Otakar. 1986. Estetika dramatického umění: teoretická dramaturgie [The Aesthetics of Dramatic Art: A Theoretical Dramaturgy]. 2nd ed. Prague: Panorama, 1986.
[46] ZICH, Otakar. 2015. Puppet Theatre . Transl. by Pavel Drábek. Theatralia 18 (2015): 2: 505–513.
[2] AMBROS, Veronika. 2012. Petr Bogatyrev (1893–1971) et E. F. Burian (1904–1959): Entre Formalisme et Structuralisme, entre Ethnographie et Sémiotique du Théâtre . In Sergei Tschougounnikov and Celine Trautmann-Walter (eds.). Petr Bogatyrev et les Débuts du Cercle de Prague. Recherches Ethnographiques et Theatrales. Paris: Sorbonne Nouvelle, 2012: 135–146.
[3] BOGATYREV, Petr. 1982. A Contribution to the Study of Theatrical Signs . In Peter Steiner (ed.) and John Burbank (transl.). The Prague School: Selected Writings, 1929–1946. Austin: Texas UP, 1982: 55–64.
[4] BOGATYREV, Petr. 2016. Theatrical Signs . In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 99–114.
[5] BRUŠÁK, Karel. 1991. Imaginary Action Space in Drama . In Herta Schmid and Hedwig Král (eds.). Drama und Theater: Theorie – Methode – Geschichte. München: Otto Sagner, 1991: 144–162.
[6] BURJANEK, Josef. 1966. Otakar Zich . Brno: St. pedag. nakl., 1966.
[7] DROZD, David, Tomáš KAČER and Don SPARLING (eds.). 2016. Theatre Theory Reader: Prague School Writings . Prague: Karolinum Press, 2016.
[8] DROZD, David. 2010. Chybějící část recepce Zichova opus magnum [The Missing Part of the Reception of Zich's Opus Magnum]. Theatralia 13 (2010): 2: 214–218.
[9] ELAM, Keir. 2002. The Semiotics of Theatre and Drama . 2nd ed. London/New York: Routledge, 2002.
[10] HONZL, Jindřich. 1940. Objevené divadlo v lidovém divadle českém a slovenském [Discovered Theatre in Czech and Slovak Folk Theatre]. Slovo a slovesnost 6 (1940): 2: 107–111.
[11] HONZL, Jindřich. 2016. The Mobility of the Theatrical Sign . In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 129–146.
[12] JAKOBSON, Roman. 1985. Peter Bogatyrev, (29.1.93–18.VIII.71). Expert in Transfiguration . Selected Writings, VII, Berlin, NY, Amsterdam: Mouton, 1985: 293–304.
[13] JAKOBSON, Roman. 1987a. An Open Letter from Roman Jakobson to Jiří Voskovec and Jan Werich on the Epistemology and Semantics of Fun . Transl. by M. Quinn. Stanford Slavic Studies (1987): 1: 155–162.
[14] JAKOBSON, Roman. 1987b. On Realism in Art . In Krystyna Pomorska and Stephen Rudy (eds.). Language in Literature. Cambridge, Mass./London: Harvard UP, 1987: 19–28.
[15] MEERZON, Yana. 2005. The Path of a Character: Michael Chekhov's Inspired Acting and Theatre Semiotics . Frankfurt am Main: Peter Lang, 2005.
[16] MUKAŘOVSKÝ, Jan. 1933. Otakar Zich: Estetika dramatického umění (recenze) [Otakar Zich: The Aesthetics of Dramatic Art (review)]. Časopis pro moderní filologii a literaturu XIX (1933): 318–326.
[17] MUKAŘOVSKÝ, Jan. 1940. Dialog a Monolog [Dialogue and Monologue]. Listy Filologické / Folia Philologica 67 (1940): 3/4: 139–160.
[18] MUKAŘOVSKÝ, Jan. 1978. Time in Film . In John Burbank and Peter Steiner (transl. and eds.). Structure, Sign, and Function. Selected Essays. New Haven/London: Yale University Press, 1978: 191–200.
[19] MUKAŘOVSKÝ, Jan. 1982. Otakar Zich . In Jan Mukařovský. Studie z poetiky. Prague: Odeon, 1982: 284–289.
[20] MUKAŘOVSKÝ, Jan. 2016a. An Attempt at a Structural Analysis of an Actor's Figure (Chaplin in City Lights) . In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 192–199.
[21] MUKAŘOVSKÝ, Jan. 2016b. Dialogue and Monologue . In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 220–246.
[22] MUKAŘOVSKÝ, Jan. 2016c. On the Current State of the Theory of Theatre . In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 59–75.
[23] NOVÁK, Bohumil. 1933. Rozhovor s Otakarem Zichem [An Interview with Otakar Zich]. Čin 4 (1933): 465–469.
[24] PRAŽÁKOVÁ, Klára. 1921. Pomyslné jeviště [Imaginary Stage]. Jeviště II (1921): 390–392.
[25] PROCHÁZKA, Miroslav. 1978. Jindřich Honzl a otázky teorie divadelního znaku. (Šestidílná studie o zkoumání sémiotických otázek v teatrologických úvahách Jindřicha Honzla) [Jindřich Honzl and Isues of the Theory of the Theatrical Sign (A Study in Six Parts of Studying Semiotic Issues in Jindřich Honzl's Inquiries in Theatre Studies]. Estetika 15 (1978): 2: 97–116.
[26] QUINN, Michael L. 1988. Švejk's Stage Figure: Illustration, Design, and the Representation of Character . Modern Drama 31 (1988): 3: 330–339. | DOI 10.3138/md.31.3.330
[27] QUINN, Michael L. 1990. Celebrity and the Semiotics of Acting . New Theatre Quarterly 6 (1990): 22: 154–161.
[28] QUINN, Michael L. 1995. The Semiotic Stage: Prague School Theatre Theory . New York: Peter Lang, 1995.
[29] STIEBITZ, Ferdinand. 1937. Pomyslné jeviště v antickém a v moderním dramatě [The Imaginary Stage in Classical and Modern Drama]. Věda a život (1937): 3: 229–242.
[30] SUS, Oleg, Ladislav SOLDÁN and Dušan JEŘÁBEK. Geneze sémantiky hudby a básnictví v moderní české estetice: dvě studie o Otakaru Zichovi [Development of Musical and Poetic Semantitcs in Modern Czech Aesthetics: Two Studies about Otakar Zich]. Brno: Filozofická fakulta Masarykovy univerzity, 1992.
[31] SUS, Oleg. 1972. On the Genetic Preconditions of Czech Structuralist Semiology and Semantics . Poetics 1 (1972): 4: 28–54. | DOI 10.1016/0304-422X(72)90003-4
[32] SZONDI, Peter. 1967. Theorie des modernen Dramas . Frankfurt am Maine: Suhrkamp, 1967.
[33] VELTRUSKÝ, Jiří. 1942. Drama jako básnické dílo [Drama as Literature]. In Bohuslav Havránek and Jan Mukařovský (eds.). Čtení o jazyce a poesii [Reading about Language and Poetry]. Prague: Družstevní práce, 1942: 403–502.
[34] VELTRUSKÝ, Jiří. 1977. Drama as Literature . Lisse: Peter de Ridder Press, 1977.
[35] VELTRUSKÝ, Jiří. 1979. Theatre in the Corridor. E. F. Burian's Production of 'Alladine and Palomides' . The Drama Review 23 (1979): 4: 67–80. | DOI 10.2307/1145230
[36] VELTRUSKÝ, Jiří. 1999. Drama jako básnické dílo [Drama as Literature]. Brno: Host, 1999.
[37] VELTRUSKÝ, Jiří. 2016a. A Contribution to the Semiotics of Acting . In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 376–424.
[38] VELTRUSKÝ, Jiří. 2016b. Dramatic Text as a Component of Theatre . In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 247–268.
[39] VELTRUSKÝ, Jiří. 2016c. People and Things in the Theatre . In David Drozd, Tomáš Kačer and Don Sparling (eds.). Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 147–156.
[40] VELTRUSKÝ, Jiří. 2016d. Strukturalismus a divadelní věda [Structuralism and Theatre Studies]. Theatralia 19 (2016): 1: 231–237.
[41] ZICH, Jaroslav. 1965. Sdělovací schopnost hudby [Communicative Abilities of Music]. Hudební věda II (1965): 31–75.
[42] ZICH, Jaroslav. 1987 [1975]. Kapitoly a studie z hudební estetiky [Chapters and Studies in the Aesthetics of Music]. Prague: Supraphon, 1987.
[43] ZICH, Otakar and Oleg SUS. 1977. Estetika dramatického umění: teoretická dramaturgie [The Aesthetics of Dramatic Art: A Theoretical Dramaturgy]. Würzburg: Jal-reprint, 1977.
[44] ZICH, Otakar. 1931. Estetika dramatického umění [The Aesthetics of Dramatic Art]. 1st ed. Prague: Melantrich, 1931.
[45] ZICH, Otakar. 1986. Estetika dramatického umění: teoretická dramaturgie [The Aesthetics of Dramatic Art: A Theoretical Dramaturgy]. 2nd ed. Prague: Panorama, 1986.
[46] ZICH, Otakar. 2015. Puppet Theatre . Transl. by Pavel Drábek. Theatralia 18 (2015): 2: 505–513.