'There was no one in the audience': The first Soviet musical on a Czechoslovak stage

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11210%2F22%3A10452685" target="_blank" >RIV/00216208:11210/22:10452685 - isvavai.cz</a>

Výsledek na webu

<a href="https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=f7tXUm9dUn" target="_blank" >https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=f7tXUm9dUn</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.1386/smt_00104_1" target="_blank" >10.1386/smt_00104_1</a>

Jazyk výsledku

angličtina

Název v původním jazyce

'There was no one in the audience': The first Soviet musical on a Czechoslovak stage

Popis výsledku v původním jazyce

After the 1968 Soviet invasion, the people of Czechoslovakia could not avoid the presence of Soviet culture, which was a symbolic manifestation of subordination to the Soviet hegemony. When researching the theatre culture of this era, one comes across a very specific tension between the state&apos;s cultural politics, the principles of theatres&apos; repertoire-making and audience perceptions. As new Soviet musicals began to appear on Czechoslovak stages in the early 1970s, serving as obligatory Soviet titles, audiences were not very approving, even as the official discourse created a completely different image. The case study of the 1971 Prague production of the Soviet musical Nobody Is Happier Than Me by Andrei Eshpai shows the impact of cultural politics on the theatre industry, how the discourse balanced the unpopularity of the show and its political importance and how the production was perceived by various agents involved in it. Research on this previously untouched area can shed light on the cultural mechanisms of late communism in Czechoslovakia, the nature of popular culture in communist states and the relationship between the Soviet Union and its satellites.

Název v anglickém jazyce

'There was no one in the audience': The first Soviet musical on a Czechoslovak stage

Popis výsledku anglicky

After the 1968 Soviet invasion, the people of Czechoslovakia could not avoid the presence of Soviet culture, which was a symbolic manifestation of subordination to the Soviet hegemony. When researching the theatre culture of this era, one comes across a very specific tension between the state&apos;s cultural politics, the principles of theatres&apos; repertoire-making and audience perceptions. As new Soviet musicals began to appear on Czechoslovak stages in the early 1970s, serving as obligatory Soviet titles, audiences were not very approving, even as the official discourse created a completely different image. The case study of the 1971 Prague production of the Soviet musical Nobody Is Happier Than Me by Andrei Eshpai shows the impact of cultural politics on the theatre industry, how the discourse balanced the unpopularity of the show and its political importance and how the production was perceived by various agents involved in it. Research on this previously untouched area can shed light on the cultural mechanisms of late communism in Czechoslovakia, the nature of popular culture in communist states and the relationship between the Soviet Union and its satellites.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

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OECD FORD obor

60403 - Performing arts studies (Musicology, Theater science, Dramaturgy)

Projekt

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Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2022

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Studies in Musical Theatre

ISSN

1750-3159

e-ISSN

1750-3167

Svazek periodika

16

Číslo periodika v rámci svazku

3

Stát vydavatele periodika

GB - Spojené království Velké Británie a Severního Irska

Počet stran výsledku

10

Strana od-do

205-214

Kód UT WoS článku

000965879600005

EID výsledku v databázi Scopus

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