Antoine Vitez : dramaturgy without a dramaturg?

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61384984%3A51210%2F23%3AN0000200" target="_blank" >RIV/61384984:51210/23:N0000200 - isvavai.cz</a>

Výsledek na webu

<a href="https://conferences.au.dk/eastap23" target="_blank" >https://conferences.au.dk/eastap23</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Antoine Vitez : dramaturgy without a dramaturg?

Popis výsledku v původním jazyce

Stage director, actor, poet, translator, pedagogue, filmmaker, and theatre director Antoine Vitez (1930–1990) was a particularly significant figure in French theatre and cultural life in the second half of the 20th century. He left a profound mark through both his productions and his contributions to questions concerning theatre theory, theatre education, and cultural policy. In relation to the field of dramaturgy, Vitez is well known for his strict and vehement rejection of any form of collaboration with a dramaturg, and even of the very function of dramaturg within a theatre institution. His strong opposition to the role of dramaturg, however, does not imply the absence of a dramaturgical dimension within his oeuvre. It is necessary to distinguish between, on the one hand, the context in which Vitez opposed the position of dramaturg—namely the transfer of (East) German theatrical organization into a French environment where the dramaturg as a position has little historical or institutional tradition—and, on the other hand, the actual development of Vitez’s thinking on theatre and his creative process. If we do not consider the dramaturg solely as a professional and ideological interpreter of dramatic texts, but instead adopt a broader understanding of dramaturgy as an activity concerned with determining and securing what and how should be performed in the theatre so as to meet (even unconscious) audience expectations, in accordance with the possibilities of art and its active role in the development of culture, we realize that dramaturgy occupied a highly central position in Vitez’s work. Where, then, within Vitez’s creative process does dramaturgical work reside, and who or what substitutes for collaboration with a dramaturg? The contribution discusses the significance of Vitez’s pedagogical activities as a ‘dramaturgical laboratory’ on the one hand, and his creative dialogue with artistic collaborators as a form of dramaturgy on the other.// GORIAUX, Jitka. Antoine Vitez : dramaturgy without a dramaturg?. Paper presented at Dimensions of Dramaturgy, European Association for the Study of Theatre and Performance, Aarhus, Denmark, June 19–23.

Název v anglickém jazyce

Antoine Vitez : dramaturgy without a dramaturg?

Popis výsledku anglicky

Stage director, actor, poet, translator, pedagogue, filmmaker, and theatre director Antoine Vitez (1930–1990) was a particularly significant figure in French theatre and cultural life in the second half of the 20th century. He left a profound mark through both his productions and his contributions to questions concerning theatre theory, theatre education, and cultural policy. In relation to the field of dramaturgy, Vitez is well known for his strict and vehement rejection of any form of collaboration with a dramaturg, and even of the very function of dramaturg within a theatre institution. His strong opposition to the role of dramaturg, however, does not imply the absence of a dramaturgical dimension within his oeuvre. It is necessary to distinguish between, on the one hand, the context in which Vitez opposed the position of dramaturg—namely the transfer of (East) German theatrical organization into a French environment where the dramaturg as a position has little historical or institutional tradition—and, on the other hand, the actual development of Vitez’s thinking on theatre and his creative process. If we do not consider the dramaturg solely as a professional and ideological interpreter of dramatic texts, but instead adopt a broader understanding of dramaturgy as an activity concerned with determining and securing what and how should be performed in the theatre so as to meet (even unconscious) audience expectations, in accordance with the possibilities of art and its active role in the development of culture, we realize that dramaturgy occupied a highly central position in Vitez’s work. Where, then, within Vitez’s creative process does dramaturgical work reside, and who or what substitutes for collaboration with a dramaturg? The contribution discusses the significance of Vitez’s pedagogical activities as a ‘dramaturgical laboratory’ on the one hand, and his creative dialogue with artistic collaborators as a form of dramaturgy on the other.// GORIAUX, Jitka. Antoine Vitez : dramaturgy without a dramaturg?. Paper presented at Dimensions of Dramaturgy, European Association for the Study of Theatre and Performance, Aarhus, Denmark, June 19–23.

Druh

O - Ostatní výsledky

CEP obor

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OECD FORD obor

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

Projekt

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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