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Dramatic works by John Amos Comenius
Klosová, Markéta ; Stehlíková, Eva (advisor) ; Scherl, Adolf (referee) ; Svatoš, Martin (referee)
Markéta Klosová Dramatic works by John Amos Comenius (abstract of the thesis) Submittcd thesis analyzcs IOdramatíc works writtcn by Comcnius from the point of view of both historical events and practicc of Centra! Europcan lheatre (especially of school type) of 16'11 and !7'11 ccnturics. firstlhe work discusscs lhc dramatic picccs pcrformcd in so called "gymnasium" in Lcszno, tbc inlroduction of which occurrcd in 1635. First documented pcrfonnances (since 1639) took placc just during thc Comcnius' rectorship. Dramatic pieces, being performcd in l.cszno in 17' 11 ccntury, followcd and wcrc in fl!ll compliance with conlemporary trcnds. Protestant picccs (bcing wrillcn cspccially in German and Latin) bccamc a sourcc oť inspiration i(Jr tbcir authors. llowever, they did not stand aloof from subjects, typical for Jesuit pbywrights. Comcnius' picccs Diogencs Cyniurs rcdivi\'11.\' (pcri(Jrmcd in 1640. issued in 1658) and Ahrahamus palriarch (pcrf(mned in 1641. issucd in 1661 /1662) took placc in Lcszno. as well. As for Diogencs. a part ol" rcsearchers cmphasizc humorous adaplation as well as choosing a peculiar antic topic. Tbc othcrs spcculatc ovcr lirct. why author choose jusl this philosophcr: cynicism is fealurccl with absolutc disallowing social convenlíons including the propcnsity for publicly donc...
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Dramatic works by John Amos Comenius
Klosová, Markéta ; Stehlíková, Eva (advisor) ; Scherl, Adolf (referee) ; Svatoš, Martin (referee)
Markéta Klosová Dramatic works by John Amos Comenius (abstract of the thesis) Submittcd thesis analyzcs IOdramatíc works writtcn by Comcnius from the point of view of both historical events and practicc of Centra! Europcan lheatre (especially of school type) of 16'11 and !7'11 ccnturics. firstlhe work discusscs lhc dramatic picccs pcrformcd in so called "gymnasium" in Lcszno, tbc inlroduction of which occurrcd in 1635. First documented pcrfonnances (since 1639) took placc just during thc Comcnius' rectorship. Dramatic pieces, being performcd in l.cszno in 17' 11 ccntury, followcd and wcrc in fl!ll compliance with conlemporary trcnds. Protestant picccs (bcing wrillcn cspccially in German and Latin) bccamc a sourcc oť inspiration i(Jr tbcir authors. llowever, they did not stand aloof from subjects, typical for Jesuit pbywrights. Comcnius' picccs Diogencs Cyniurs rcdivi\'11.\' (pcri(Jrmcd in 1640. issued in 1658) and Ahrahamus palriarch (pcrf(mned in 1641. issucd in 1661 /1662) took placc in Lcszno. as well. As for Diogencs. a part ol" rcsearchers cmphasizc humorous adaplation as well as choosing a peculiar antic topic. Tbc othcrs spcculatc ovcr lirct. why author choose jusl this philosophcr: cynicism is fealurccl with absolutc disallowing social convenlíons including the propcnsity for publicly donc...
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Jesuit school drama in Prague 1700-1750
Jacková, Magdaléna ; Stehlíková, Eva (advisor) ; Svatoš, Martin (referee) ; Scherl, Adolf (referee)
The term school theatre is used to denote student-performed theatrical events that occupied a firmly established position in the school year calendar and/or one of whose main objectives was to demonstrate the students' progress in public comportment and their mastery of Latin. School theatre represents the least spectacular but the most wide-spread form of the Jesuit theatre. At the same time, it is the least known facet of the Jesuit theatre since only very few plays survived. This makes all the more valuable the corpus of 66 complete texts from Prague's colleges. It is thanks to this body of texts, that we can form at least a partial idea of the theatrical productions staged at Prague gymnasia in the first half of the 18th century. Jesuit school theatre in its simplest form is represented by exercitationes and declamationes: semi-public productions whose audiences were typically limited to the students of one class. There were two annual occasions for the presentation of school plays: the Carnival time and the end of the school year. Since the evidence of Carnival productions at the Jesuit gymnasia in Prague in the first half of the 18th century is scarce, it may be presumed that the majority of the extant texts belong to the category of plays offered at the close of the school year. Initially, a single...
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Astarto versus Atalanta. Heinrich Rademin, "Director Comicus" (1674-1731), within the context of the Italian-German theatre dramaturgy in the early 18th century
Bohadlová, Kateřina ; Pelán, Jiří (advisor) ; Scherl, Adolf (referee) ; Flemrová, Alice (referee)
The dissertation discusses the Venetian opera libretti, the German spoken court-theatre and the popular itinerant theatre in the early 18th century. It summarizes all known facts including the new discoveries in the field of the Venetian libretto-science, its influence on the opera and especially on the drama theatre in the Habsburg Monarchy. The example of two prestigious poets - Apostolo Zeno and Pietro Pariati - documents the birth of a professional librettist in the mature baroque era and his successful career at the Imperial court in Vienna. The libretto Astarto (1708) they wrote together represents the classical opera seria. While the opera experiences a boom in the aristocratic society in the German speaking countries with the centre in Vienna, the popular itinerant theatre is characterized by the German Hauptaktion, which is being transformed into the comic burlesque. The link between both theatre worlds was created by Heinrich Rademin (1674-1731), the versatile theatre personality. As a chief of the theatre group Hochdeutsche Komödianten he toured all over the Central Europe, founded the Theater am Kärntnertor in Vienna together with J. A. Stranitzky and became its member. He cooperated with another company head, A. J. Geißler, and received the exclusive license to perform in Prague and...
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