Vladimír Gamza: the comedian’s system

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61384984%3A51210%2F23%3AN0000077" target="_blank" >RIV/61384984:51210/23:N0000077 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.tandfonline.com/doi/abs/10.1080/20567790.2023.2196307" target="_blank" >https://www.tandfonline.com/doi/abs/10.1080/20567790.2023.2196307</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.1080/20567790.2023.2196307" target="_blank" >10.1080/20567790.2023.2196307</a>

Jazyk výsledku

angličtina

Název v původním jazyce

Vladimír Gamza: the comedian’s system

Popis výsledku v původním jazyce

It is well known that after 1918 the newly founded Czechoslovakia became an asylum for thousands of Russian, Ukrainian, and Belarusian emigrants. Among the exiles we find former members of the MAT and its First Studio. Kachalov’s Group in Prague is a well-known example. This was also a period of significant repatriation of a number of Czechoslovaks settled in Russia. Among them was Vladimír Gamza (1902–29), an admirer of the First Studio, who attempted to implement its programme in Czechoslovakia by setting up the Czech Studio (1924–5 season) and the Art Studio (1926–7). Gamza quickly developed a passion for Russian modernist theatre, which he was exposed to until he was 17. His direct experience of Russian theatre is linked to the prerevolutionary period. In this essay I will discuss how we can trace a partial knowledge of the Stanislavsky System in his work and its reflection.

Název v anglickém jazyce

Vladimír Gamza: the comedian’s system

Popis výsledku anglicky

It is well known that after 1918 the newly founded Czechoslovakia became an asylum for thousands of Russian, Ukrainian, and Belarusian emigrants. Among the exiles we find former members of the MAT and its First Studio. Kachalov’s Group in Prague is a well-known example. This was also a period of significant repatriation of a number of Czechoslovaks settled in Russia. Among them was Vladimír Gamza (1902–29), an admirer of the First Studio, who attempted to implement its programme in Czechoslovakia by setting up the Czech Studio (1924–5 season) and the Art Studio (1926–7). Gamza quickly developed a passion for Russian modernist theatre, which he was exposed to until he was 17. His direct experience of Russian theatre is linked to the prerevolutionary period. In this essay I will discuss how we can trace a partial knowledge of the Stanislavsky System in his work and its reflection.

Druh

J_SC - Článek v periodiku v databázi SCOPUS

CEP obor

—

OECD FORD obor

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

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2023

Kód důvěrnosti údajů

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

Název periodika

Stanislavski studies : practice, legacy and contemporary theater

ISSN

2056-7790

e-ISSN

2054-4170

Svazek periodika

11

Číslo periodika v rámci svazku

1

Stát vydavatele periodika

GB - Spojené království Velké Británie a Severního Irska

Počet stran výsledku

12

Strana od-do

33-44

Kód UT WoS článku

—

EID výsledku v databázi Scopus

2-s2.0-85151134104