METAPHOR AND IRONY 2 - Divadlo.cz

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The result is a broad range of items by active Czech designers. Their work can be seen on the stages of their country, in Europe and at other international destinations. An addition to Metaphor and Irony 2 is our attempt to provide context for the designs by revealing examples of praxis. In as many cases as possible, designs are accompanied by production photos as well as realized costumes and puppets, allowing viewers the opportunity to contemplate the connections and disconnections between the designer's impulses and their concrete referents, and between the development of Tröster's design legacy and the formation of new Czech design aesthetics. Joe Brandesky, Co-Curator Professor of Theatre The Ohio State University at Lima František Tröster: Julius Caesar, William Shakespeare; 1936 6
Modernism to Imagism Metaphor And Irony 2, when coupled with its predecessor, Metaphor And Irony, provides a complete view of Czech theatre design. Beginning with the work of František Tröster in 1936, and ending with productions completed as recently as 2003, this exhibit encompasses the visual art of the Czech Theatre from Modernism to Imagism. These 67 years were a remarkable time in the theatre in the Czech Republic - a time of great contrasts and ironies - a phrase that encapsulates the history of this vibrant and creative people from the WW I Armistice that created the modern state of Czechoslovakia out of the rubble of the Austro-Hungarian Empire; to its imprisonment - first under the Nazis in 1938 and later behind the Iron Curtain in 1945; to the Velvet Revolution of 1989; to the split of the country into the two independent states of Slovakia and the Czech Republic in 1993; to the referendum taken in June of 2003 affirming the desire of the citizens of the Czech Republic to join the European Union; and finally, to membership in the EU on 1 May 2004. František Tröster: Julius Caesar, William Shakespeare; 1936 7
Page 1 and 2: METAPHOR AND IRONY 2 FRANTIŠEK TR
Page 3 and 4: Bowling Green State University's Fi
Page 5: František Tröster and Contemporar
Page 9 and 10: But these new creative impulses wer
Page 11 and 12: In Author's Theatre the designer, d
Page 13 and 14: Authority, Playfulness, Metaphor an
Page 15 and 16: view (the influence of Soviet film
Page 17 and 18: The artist and stage designer Libor
Page 19 and 20: Jan Štěpánek: Dybbuk, S. Ansky (
Page 21 and 22: Images and Designers’ Biographies
Page 23 and 24: Don Juan, Molière; 1957 The Pied P
Page 25 and 26: The Winter’s Tale, William Shakes
Page 27 and 28: Paris Plays First Fiddl, Emil F. Bu
Page 29 and 30: A Lynx’s Hour, Per Olov Enquist;
Page 31 and 32: Come Nasce Il Sogetto Cinematografi
Page 33 and 34: The Play on Love, Death and Eternit
Page 35 and 36: A Magic Hill, Thomas Mann, Štěpá
Page 37 and 38: Don Juan, Bertolt Brecht; 1988 The
Page 39 and 40: Red Shoes, Hans Christian Andersen;
Page 41 and 42: Accidental Death of an Anarchist, D
Page 43 and 44: Peer Gynt, Henrik Ibsen; 2002 43
Page 45 and 46: Largo Desolato, Václav Havel; 1990
Page 47 and 48: The Firebird, Daniela Fischerová;
Page 49 and 50: Temptation, Václav Havel; 1990 49
Page 51 and 52: The Tutor, Jacob M. R. Lenz, Jarosl
Page 53 and 54: The Artless, Josef B. Foerster; 200
Page 55 and 56: TOP AND ABOVE LEFT 1, 2: Mathew, th
Page 57 and 58:
The Summer Guests, Maxim Gorky, 199
Page 59 and 60:
Uncle Vanya, Anton P. Chekhov; 1999
Page 61 and 62:
In the Summer House, Jane Bowles; 2
Page 63 and 64:
Richard III, William Shakespeare; 2
Page 65 and 66:
JE SuiS, Egon Tobiáš, Martin Dohn
Page 67 and 68:
Work in the Exhibition
Page 69 and 70:
MARIE FRANKOVÁ Nikolai V. Gogol: T
Page 71 and 72:
Pierre de Marivaux: LE DISPUTE Tyl
Page 73 and 74:
Anton P. Chekhov: IVANOV Theatre On
Page 75 and 76:
Alban Berg: WOZZECK National Theatr
Page 78 and 79:
Acknowledgements The curators thank
Page 80:
METAPHOR AND IRONY 2 Organizational
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METAPHOR AND IRONY 2 - Divadlo.cz

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