| Description |
JIŘÍ FREJKA’S PRODUCTION OF WHEN WOMEN CELEBRATE SOMETHING The article focuses on an almost forgotten production from a period when the Czech theatre avant-garde was only establishing itself. It was during the years 1923 – 1926 when Jiří Frejka became the head of a modern art group that started to develop its vision of the new theatre. Influenced by the co-operation with modern artists from Russia, France and Germany, their work reflected current modernist trends in the art of theatre. In January 1926, the production of When women celebrate something, inspired by Aristophanes’ comedy Thesmoforiazusae (Women Celebrating the Thesmophoria) synthesised all the principles that had been used in previous productions staged by the group. Following the principles of constructivism, Frejka used a wooden scenic construction (designed by A. Heythum) consisting of ladders and a scaffolding and he also made use of elements typical for Czech poetism, such as a red colour of the scenic construction, two painted figures, a blade and a comb larger than life, a metaphorical use of a Chi-nese lantern hung on a gibbet etc. However, experimenting with forms and methods was only one part of the production. Apart from that, elements of modern lifestyle, vi-sions and illusions of a post-war society, philosophy, feminism, a liberal view of sexu-ality, forms of popular and peripheral culture such as circus, music-hall, slapstick com-edy, fairgrounds and boxing, topicality, spontaneity, and of course a kind of youthful humour full of satire, hyperbole and invectives, all found their way into Frejka’s pro-duction. Despite its successful utilising of new theatrical elements, When women celebrate something was performed only once. One possible reason was that the translator’s rights had been encroached upon and that he later, apparently offended, forbade it to be performed. However, rumour has it that the censors interfered because of some contro-versial motives in the play. Be that as it may, the play attracted enormous publicity. Eventually, Frejka and his group became the core of the Liberated Theatre in Prague in February 1926.
|