Vplyv divadelných teórií na vnútorný priestor divadiel
| Autoři | |
|---|---|
| Rok publikování | 2021 |
| Druh | Další prezentace na konferencích |
| Fakulta / Pracoviště MU | |
| Citace | |
| Popis | The paper responds to the collaboration between the theatre artist and architect. It focuses on the individual transformations of the theatre space that have resulted from their mutual collaboration and have influenced theatre architecture from the second half of the 20th century to the present day. In the paper I relate Richard Wagner's and Gottfried Semper's reforms to a democratizing point of view. Walter Gropius with Erwin Piscator, who shattered the established notion of the ideal model of the theatre. Heinrich Tessenow's collaboration with musician Émile Jaques-Dalcoz, creating a simple space for movement theatre where the material for the dancer's work is segmented scenography. After the Second World War, the architecture of the theatre space is strongly influenced by the regulations of the regime. They unify the requirements for representational spaces thus influencing the character of the interior space of theatre buildings. On the other hand, the need to work in non-theatrical spaces does not subside. Here, functionality is limited to an intimate space freed from any mass. The scenic composition of director Jerzy Grotowski and architect Jerzy Gurawski broke the boundaries between actor and spectator. The close collaboration between set designer Josef Svoboda and architect Karl Prager led to the establishment of a space for the principle of Laterna Magika to function. Using selected floor plans and scenic sketches, I will present the impact of theatrical theories on the architecture of contemporary theatres. The paper will bring a theatrical perspective to the issue of designing theatre buildings and answer why, despite reform efforts, the theatre space of the second half of the 20th century was designed according to proven mechanisms. |
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