Trial by Theatre - Barbara Dayová
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Krátky popis
The motto Národ sobě – “From the Nation to Itself” – inscribed over
the proscenium arch of Prague’s National Theatre symbolizes the
importance theatre holds for the Czechs. During the National
Awakening of the 19th century, theatre took the place of politics,
becoming an instrument of national identity in the hands of the
revivalists. In what was then part of a German-speaking empire, the
Czechs devised a complex and evocative theatre language made up of
allegory, allusion, juxtaposition, games, wordplay, legend,
history, illusion and music. A sophisticated avant-garde theatre
flowered in Czechoslovakia between the wars, and became a symbol of
independence during the Nazi occupation. It survived Socialist
Realism and Stalinism to blossom again in the “Golden Sixties” when
Prague became “the theatre capital of Europe” (Kenneth Tynan) and a
generation of theatre and film directors (Radok, Grossman, Schorm)
and playwrights (Havel, Kundera, Topol) were at the forefront of
the Prague Spring. Reprisals took place after the 1968 Soviet
invasion when, under “normalization,” hardline Communists tried to
silence the voices of the ‘60s; thousands were forced into internal
and external emigration. The theatre culture, however, flexible and
experienced from previous repression, again provided a basis of
opposition to totalitarianism. For two decades it operated in the
provisional spaces of culture houses, studios, gymnasiums, bars,
trade union halls, art galleries and living rooms. Strategies were
devised and implemented to bring freedom back to the theatre and
society. A strong sense of justice and ethics intensified the
mutual commitment of theatres and audiences, leading the way to the
Velvet Revolution of 1989 and the installation of a playwright as
President.
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