Materiality of Sound and Text (Jiří Veltruský meets Bob Wilson)

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F14%3A00074247" target="_blank" >RIV/00216224:14210/14:00074247 - isvavai.cz</a>

Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Materiality of Sound and Text (Jiří Veltruský meets Bob Wilson)

Popis výsledku v původním jazyce

In the theoretical texts by Jiří Veltruský (1919-1994), one of the most important theatre scholars connected with Prague Linguistic Circle, the text/textual element is a crucial component in the complex interplay of material and immaterial components ofthe theatre production. In his essays "Dramatic text as Component of Theatre" (first version in Czech 1941, English version 1976) or "Sound Qualities of the Text and Actors Performance" (1991) and posthumous An Approach to the Semiotics of Theatre (2012), the position of the (dramatic) text might seem even overestimated from a contemporary point of view. The dramatic text has lost its prominent position - performance is often considered as an autonomous act of the director and the actors, who create their own theatrical world that also includes the text. But criticism hardly ever discusses the details of this appropriation (such as cuts, rewritings and other textual changes).

Název v anglickém jazyce

Materiality of Sound and Text (Jiří Veltruský meets Bob Wilson)

Popis výsledku anglicky

In the theoretical texts by Jiří Veltruský (1919-1994), one of the most important theatre scholars connected with Prague Linguistic Circle, the text/textual element is a crucial component in the complex interplay of material and immaterial components ofthe theatre production. In his essays "Dramatic text as Component of Theatre" (first version in Czech 1941, English version 1976) or "Sound Qualities of the Text and Actors Performance" (1991) and posthumous An Approach to the Semiotics of Theatre (2012), the position of the (dramatic) text might seem even overestimated from a contemporary point of view. The dramatic text has lost its prominent position - performance is often considered as an autonomous act of the director and the actors, who create their own theatrical world that also includes the text. But criticism hardly ever discusses the details of this appropriation (such as cuts, rewritings and other textual changes).

Druh

O - Ostatní výsledky

CEP obor

AL - Umění, architektura, kulturní dědictví

OECD FORD obor

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Projekt

<a href="/cs/project/GAP409%2F11%2F1082" target="_blank" >GAP409/11/1082: Český divadelní strukturalismus: souvislosti a potenciál</a><br>

Návaznosti

P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)

Rok uplatnění

2014

Kód důvěrnosti údajů

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