On the Hidden Potential of Public Solitude, Part I: Ivan Vyskočil’s Theatre as Encounter

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61384984%3A51210%2F23%3AN0000120" target="_blank" >RIV/61384984:51210/23:N0000120 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.tandfonline.com/doi/full/10.1080/20567790.2023.2286600?scroll=top&needAccess=true" target="_blank" >https://www.tandfonline.com/doi/full/10.1080/20567790.2023.2286600?scroll=top&needAccess=true</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.1080/20567790.2023.2286600" target="_blank" >10.1080/20567790.2023.2286600</a>

Jazyk výsledku

angličtina

Název v původním jazyce

On the Hidden Potential of Public Solitude, Part I: Ivan Vyskočil’s Theatre as Encounter

Popis výsledku v původním jazyce

In this essay, we introduce Ivan Vyskočil (1929–2023), a Czech theatre maker, author, psychologist, and pedagogue – a case study par excellence for current studies on hybridization and transdisciplinarity as fosterers of creativity. Since Stanislavsky’s public solitude has played a key role for Vyskočil’s concept of authorial acting and its pedagogy, we track down ways Vyskočil elaborated on it as well as other resources that influenced his work (e. g. Brecht’s V-effekt, or the Czech avant-garde movement). Our study comes in a two-part series. In this Essay I, we identify major shifts through which Vyskočil transposed Stanislavsky’s small circle of attention – originally a tool for actors to escape the audience’s intimidating gaze – into the constitutive condition for theatre as encounter, in which the audience co-creates the play while it is emerging. Despite their origins on the big stage of the Moscow Art Theatre and its studios, it is argued here that Stanislavsky’s public solitude and creative state reveal their full potential through small stage forms of authorial creativity – as Vyskočil has shown via “Non-Theatre” productions and in journal articles. Essay II of this series then presents Vyskočil’s concept of dialogical and embodied education, especially when they cultivate the actor’s inner positions of spectatorship and authorship. This approach characterizes studies at the Department of Authorial Creativity and Pedagogy, which Vyskočil founded at the Academy of Performing Arts in Prague (DAMU) in 1994. /// Machková, Markéta, a Rais, Mish. „On the hidden potential of Public solitude, Part I: Ivan Vyskočil’s Theatre as encounter“ [online]. Stanislavski Studies. 4. 12. 2023 [cit. 5. 12. 2023]. Dostupné z: https://www.tandfonline.com/doi/full/10.1080/20567790.2023.2286600

Název v anglickém jazyce

On the Hidden Potential of Public Solitude, Part I: Ivan Vyskočil’s Theatre as Encounter

Popis výsledku anglicky

In this essay, we introduce Ivan Vyskočil (1929–2023), a Czech theatre maker, author, psychologist, and pedagogue – a case study par excellence for current studies on hybridization and transdisciplinarity as fosterers of creativity. Since Stanislavsky’s public solitude has played a key role for Vyskočil’s concept of authorial acting and its pedagogy, we track down ways Vyskočil elaborated on it as well as other resources that influenced his work (e. g. Brecht’s V-effekt, or the Czech avant-garde movement). Our study comes in a two-part series. In this Essay I, we identify major shifts through which Vyskočil transposed Stanislavsky’s small circle of attention – originally a tool for actors to escape the audience’s intimidating gaze – into the constitutive condition for theatre as encounter, in which the audience co-creates the play while it is emerging. Despite their origins on the big stage of the Moscow Art Theatre and its studios, it is argued here that Stanislavsky’s public solitude and creative state reveal their full potential through small stage forms of authorial creativity – as Vyskočil has shown via “Non-Theatre” productions and in journal articles. Essay II of this series then presents Vyskočil’s concept of dialogical and embodied education, especially when they cultivate the actor’s inner positions of spectatorship and authorship. This approach characterizes studies at the Department of Authorial Creativity and Pedagogy, which Vyskočil founded at the Academy of Performing Arts in Prague (DAMU) in 1994. /// Machková, Markéta, a Rais, Mish. „On the hidden potential of Public solitude, Part I: Ivan Vyskočil’s Theatre as encounter“ [online]. Stanislavski Studies. 4. 12. 2023 [cit. 5. 12. 2023]. Dostupné z: https://www.tandfonline.com/doi/full/10.1080/20567790.2023.2286600

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

neuveden

Číslo periodika v rámci svazku

4.12.2023

Stát vydavatele periodika

GB - Spojené království Velké Británie a Severního Irska

Počet stran výsledku

18

Strana od-do

—

Kód UT WoS článku

—

EID výsledku v databázi Scopus

2-s2.0-85179939879